Tag Archives: M. Night Shyamalan

Movie review: M. Night Shyamalan impressively puts all pieces together with ‘Glass’

Writer-director M. Night Shyamalan scores an impressive hat-trick with “Glass,” the long-awaited sequel to his 2000 mystery drama “Unbreakable” that was bridged by his hit 2016 horror thriller “Split.”


VIDEO: See Tim’s review of “Glass” and “Stan & Ollie” with Adrienne Broaddus on KARE-TV.

Released in 2000, “Unbreakable” essentially examines an obsessive comic book art dealer’s (Samuel L. Jackson) idea that superheroes  — like Bruce Willis’ David Dunn — walk among us and will go to any means necessary to confirm his beliefs; while 2016’s “Split,” as it turns out, reveals there are supervillains — like James McAvoy’s Kevin Crumb, who suffers from dissociative identity disorder — too, like the Beast – one of Kevin’s 24 personalities.

“Glass,” a name assumed by Jackson’s character in “Unbroken” because of his brittle bone disease, takes place, appropriately, 19 years after the events of the first film, where David realizes that he must confront his fellow meta-human who wreaking havoc across Philadelphia. Getting in his way, though, is a Dr. Ellie Staple (Sarah Paulson), who finds a way to institutionalize David, Kevin and Glass in a bid to convince each of them that their perceived powers are just figments of their imaginations.


AUDIO:  Hear Tim’s review of “Glass” with Tom Barnard on “The KQ Morning Show.”

The interesting thing about “Unbreakable” is that is really was ahead of its time with its dark superhero narrative — considering it came out after DC had its run and faded in 1990s, and just as Marvel’s  X-Men and Spider-Man showed there was interest in the moviegoing public that the Marvel Cinematic Universe could finally materialize with Iron Man, Thor, Captain America and the Avengers.

Oddly enough, Shyaman’s inventive superhero movie reemerges at a time where there’s been a proliferation of them, yet amazingly, “Glass” still sets itself apart thanks to filmmaker’s penchant for plot twists and real-world narrative, which is enhanced by the terrific performances of McAvoy, Willis and Jackson. (Plus, in a class move, the writer-director brings back nearly every member of “Unbreakable’s” cast, save Robin Wright, whose character’s absence is explained in the story.)

Fans of “Unbreakable” and “Split” are going to love “Glass,” as Shyamalan’s sweeping, twisty and ambitious narrative finally comes together in grand fashion after two decades. The film will no doubt be confusing, though, to those who’ve never seen “Unbreakable” and/or “Split,” and Shyamalan is putting a lot of trust in his audience as such by not including any sort of prologue. Naturally, there are flashbacks to the previous films in “Glass,” which aids the story at key points in the film. If at all possible, everyone, whether they’ve seen “Unbreakable” and “Split” or not will greatly benefit by revisiting the films before seeing “Glass.”

Ultimately, all roads lead to the smashing ending of “Glass,” where you realize that despite third chapter’s tidy conclusion, Shyamalan is not done telling his comic book tale just yet.

Lammometer: 7.5 (out of 10)

Tim Lammers reviews movies weekly for The KQ92 Morning Show,” “KARE 11 News at 11” (NBC), WCCO Radio, WJON-AM, KLZZ-FM, “The Tom Barnard Podcast” and “The BS Show” with Bob Sansevere.

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Reviews: ‘The Visit,’ ‘War Room’

'The Visit' (photo -- Universal Pictures)

By Tim Lammers

“The Visit” (PG-13) 1 1/2 stars (out of four)

Writer-director M. Night Shyamalan re-visits the brilliance of his twisty horror roots – but only briefly – in “The Visit,” a shaky cam, documentary-like thriller that can’t quite decide what kind of film it wants to be.

Kathryn Hahn stars as a single mom long-estranged from her parents, who finally want to meet their daughter’s two children more than 15 years after she tumultuously left home. Armed with a pair of video cameras to document the event, 15-year-old Becca (Olivia DeJonge) and 13-year-old Tyler (Ed Oxenbould) take a train to a Pennsylvania farm to stay with the grandparents – Nana (Deanna Dunagan) and Pop Pop (Peter McRobbie) – they never met. But as soon as they settle in to their week-long stay with the grandparents, the elderly couple begins to exhibit some very strange behavior that becomes more bizarre with each passing day.

Surprisingly rated PG-13, “The Visit” first feels like a cross between “The Blair Witch Project” or “Paranormal Activity” and an episode of R.L. Stine’s “Goosebumps” for the first 70 minutes, only to take a hard-left turn in the final 20 minutes into some truly horrifying territory. The problem is, the expertly-concealed twist immediately gives way to some demented scenes where the young teens are terrorized by the film’s antagonists. Parents lulled into bringing their kids to the film because of its seemingly family-friendly rating and “horror comedy” billing should be fair warned. The final scenes contain things that nightmares are made of, and it hardly can be considered entertaining.

Apart from getting some brief glimpses of greatness, those diehard fans of Shyamalan’s hoping a return to the brilliance he showed in “The Sixth Sense” will be sorely disappointed. Following his disastrous turn at the helm of the Will and Jaden Smith bomb “After Earth,” whatever convinced Shyamalan to go with the overly-tired found-footage reality horror format is truly baffling. Despite some solid performances by the five leads (although Hahn appears in the film 10 minutes at best), “The Visit” would have worked far better as a narrative horror film with much older principal performers than the two teens. As a pseudo-documentary that’s mostly void of music (apart some embarrassing rap songs by Oxenbould), “The Visit” mostly feels barren and awkward until it’s bizarre conclusion. It’s a huge disappointment.

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“War Room” (PG) 3 stars (out of four)

The new faith-based drama “War Room” is remarkable, if for not for any other reason, how it’s defied Hollywood standards and become a No. 1 film at the movie box office despite its $3 million budget and virtually no stars to attract moviegoers. But three weeks after its release and more than $30 million in receipts (and counting), the film continues to roll along with no signs of stopping anytime soon.

The War Room is a place where a wise, elderly widow Miss Clara (Karen Ambercombie) goes to pray to get her through times of strife. It’s also the place she introduces her real estate agent, Elizabeth Jordan (Priscilla C. Shrier), to, when the distraught woman confesses that her marriage to Tony (T.C. Stallings) is dying. Through the power of prayer, Elizabeth creates a war room of her own to pray for Tony to become a better husband and better father to their pre-teen daughter (Alena Pitts).

As a micro-budget movie, it shouldn’t come as a huge surprise that the acting is subpar and the atmosphere feels hokey. Still, the difference between a movie like the “War Room” and the miserable remake of “Left Behind” last year starring Nicolas Cage, is that you get the sense the cast and director Alex Kendrick believe in what they’re doing. You don’t have to be a fan of secular films to recognize that the film’s story is being told with passion and resolve, and for that it’s viable alternative for faith-based filmgoers who are looking for most of the crap Hollywood is putting out these days.  Better yet, for a movie about faith, it’s not preachy – it’s about prayer.