‘Glass’ plays like a poor episode of X-Men

“Glass” is half-empty. It is a typical M. Night Shyamalan thriller, which consists of an ingenious concept that grinds into a murky slog. It plays like a poor man’s episode of “X-Men.” In most movies, the characters words and actions tell a story that entertains. Here, the characters take turns pontificating extended monologues; which is just lazy writing.

We expected more from Shyamalan, which we always do and he too often (not always) lets us down. He set such high expectations after his breakthrough hit “Sixth Sense” (1999). We don’t expect that same level of suspense and amazement but would like to get somewhere close. Too often, we walk out and all we can say is, “I see dead people.”

This is the final chapter of a “secret” trilogy that started with “Unbreakable” (2000), followed by “Split” (2016). These are two very different standalone stories sixteen years apart that Shyamalan now says were always meant to lead to the same finale. Unfortunately, Disney produced one and bitter rival Universal produced the other.

Somehow, Shyamalan convinced the studios to set aside their differences to co-produce this final chapter of his “trilogy.” For those that missed the first two, “Unbreakable” starred Bruce Willis as David Dunn, a security guard, who discovers supernatural powers when he becomes the lone survivor of a train wreck. “Split” is about Kevin Wendell Crumb (James McAvoy), a disturbed man with 24 distinct personalities.

As Willis pretty much sleepwalks through his role, McAvoy is magnificent, displaying a different voice, speech cadence and body language for each “person.” Even the late Robin Williams would have marveled at this performance. McAvoy is the highlight, but with the sluggish story advancement, his wondrous feat almost becomes a gimmick.

As so many comic book characters are named with alliteration (i.e. Peter Parker, Bruce Bannon, etc.), David Dunn uses his unique abilities to track down Kevin Crumb. Both end up incarcerated in a massive mental facility. They are under the supervision of psychiatrist, Ellie Staple, as Sarah Paulson does her best Nurse Ratchet impersonation.

Filmed at Allentown State Hospital (PA), a former mental facility, they discover a third patient; a wheelchair-bound, semi-comatose lunatic, introducing himself, “First name, Mister, last name, Glass” (Samuel L. Jackson). Dr. Staple is determined to learn what gives normal human beings such delusions of grandeur to believe they are superheroes.

The story explores the very essence of identity, asking, “Are we objectively what we are?” or “Are we the physical result of what our mind shapes?” or “Are you a superhero if you think you are?” We are provided a primer on the fundamental structure of comic book storylines. Meanwhile, the comic fan-boy is analyzed and determined to be obsessed, especially with such events as the annual Comicon convention.

In fairness, Shyamalan does create a sufficiently creepy atmosphere, with credibly depressed characters and disturbing music. He adds wonderfully weird camera angles, dark set pieces and eerie lighting to hold your interest. As the final showdown approaches, it is noted they have the requisite “collection of main characters,” as if this is a parody. Finally, the intriguing concepts make you think the story could lead to something truly sensational before we are once again underwhelmed.

“Glass” is 129 minutes and rated MPAA for violence including some bloody images, thematic elements and language. It begins with great expectations and remains modestly entertaining. Then, the series of pretentious soliloquies and deliberate pacing make it seem much longer than its two-hour run time. Yet, Shyamalan’s first cut was three and half hours, yikes!

Unused footage from the prior films was used for the flashback scenes. Shyamalan was very proud to explain how each character was dressed in different colors to enhance their psychological properties. We didn’t care and didn’t need a sixth sense to realize this would not be much more than a glass menagerie.

Ron’s Rating: D+
Leigh’s Rating: C-