Find Me At Screen Rant

Friday, March 8, 2019

Captain Marvel



Anna Boden and Ryan Fleck's Captain Marvel is fine. But, while watching it, I was reminded of the scene in Captain America: The Winter Soldier (the best Marvel Studios movie - fight me) when Steve Rogers (Chris Evans) walked through the Captain America exhibit at the Smithsonian. He looked at the events of his own life, sanitized, enhanced for maximum heroic impact, but he frowned in displeasure. This is my experience of watching Captain Marvel,  the 21st Marvel Studios film and the first with a female lead superhero. That would be Carol Danvers (Brie Larson), or Vers as she's known to the Kree, and she soars higher, further, faster than any Marvel hero before or after. But in her movie, Captain Marvel is already living her own Smithsonian exhibit, sanitized and enhanced for maximum heroic impact while leaving the interesting stuff - the human stuff - in the dust.

Who are you, Vers? I'm not the only one who wants to know. The most telling exchange in the whole movie is when Nicholas J. Fury (Samuel L. Jackson), Agent of S.H.I.E.L.D., or Fury as he's known to his mom, asked Vers what she wants. Vers answers she wants to stop the Skrulls from finding the Lightspeed Engine invented by her mentor Dr. Wendy Lawson (Annette Bening) - who is secretly a Kree crusader named Mar-Vell. "No," Fury reiterates, "What do you want?" Vers doesn't say. Because Vers doesn't know what she wants - as a person, as a living breathing human being - and neither does the movie. Vers is Brie Larson "in a rubber suit", smirking, acting smug, cracking wise, being cool, blasting Skrulls and Kree with photon blasts from her hands, and that's great. But is she a person? What are her hopes? Her dreams? Her fears? Her foibles? Who are you, Carol? When Captain Marvel is over, I was still waiting to hear the answers.

Vers is essentially perfect. Oh, her best friend and fellow fighter jock Maria Rambeau (Lashana Lynch) says she was a pain in the ass growing up, but we don't really see it. Like Vers, we see flashes of her life growing up - her dad was angry and abusive, she was mocked in basic training - and it's like a museum exhibit. But how does Vers feel about any of it? Can't say. What Vers does think for most of the movie is that she is a Kree warrior-hero, possessed of incredible superpowers her supervisor Yon-Rogg (Jude Law) claims the Kree gave her. They also gave her an inhibitor chip on her neck that holds her true potential back, but she doesn't seem to mind it. Vers is part of Starforce, an elite Kree unit that hunts down the shapeshifting Skrulls they are at war with. And Vers' only real problem is amnesia; most of the movie is Vers back on Earth discovering she's actually a human named Carol Danvers. 

But here's the thing: Vers starts out the movie awesome; she's a superpowered badass a cut above the rest of the Kree. Then on Earth, Vers discovers who she was in her previous life before she "died" 6 years prior, and she essentially finds out she was awesome before she had powers. Then, in the third act, Vers gets rid of the inhibitor chip and levels up: she becomes 1000x even more powerful and more awesome. And if that isn't the most boring movie arc you've ever heard of, then you and Vers must be besties. Much of the fun of Wonder Woman was seeing immortal demigoddess Diana Prince (Gal Gadot) as a fish-out-of-water in 1918 London and Belgium. Wonder Woman is also a perfect being, but Diana was also a charmingly naive soul who learns something about herself and about humanity in the end, and loses the first man she ever loved, Steve Trevor (Chris Pine). Captain Marvel does its own fish-out-of-water story - Vers exploring 1995 Los Angeles - except this fish is just fine on land because she's actually from the land! Her reaction to the people, places, styles, and music of 1995 is no reaction.

What sets Marvel apart from their competitors is Marvel creates imperfect heroes who struggle with their flaws and try to rise above them (see, Stark, Tony, Quill, Peter, Odinson, Thor, Parker, Peter and so on). With Captain Marvel, Marvel breaks their own mold and creates a superhero who's all powers and no problems she can't energy blast away. The Kree and the Skrulls were already no match for her before she leveled up. By the end, Vers is juggling Kree nuclear missiles and swatting their starships away with ease to save planet C-53. (A neat thing in Captain Marvel is all the planets are described by their Kree designations and "Earth" is never said.) Meanwhile, Vers doesn't express any love for anyone, any hopes, dreams, fears, or doubts. She just goes about her business being a warrior-hero.

In Captain Marvel, Vers is never in peril - ever. Even when she's captured and mind probed by the Skrulls, she easily escapes and overpowers the shapeshifters. On C-53, no Agents of S.H.I.E.L.D. (including Clark Gregg as Phil Coulson in a fun walk on), Skrull, or even the Starforce can touch her in a fight - her final battle with her former Kree buddies is even played for "laughs" with No Doubt's "Just a Girl" accompanying Vers comedically beating down the Starforce with ease. Her final confrontation with Yon-Rogg - he was the real villain all along, what a shock! - is also a joke where she quickly energy blasts him like he's nothing. Anyone looking for a story about Captain Marvel pushed to her limits, plunged into genuine danger, facing insurmountable odds, making a mistake and trying to rectify it, and somehow finding the hero inside her and rising above it all best look on some other planet. 

As a prequel, Captain Marvel does its Marvel admin and introduces the Terreract/Space Stone and a younger Ronan the Accuser (Lee Pace) in a walk-on. It has Goose the Cat, which is really an ill-defined alien called a Flerkin (which is supposed to be Carol's cat in the comics but Fury falls for it and Carol barely has interest to even look in the cat's direction). But Captain Marvel also does the same kind of stuff Solo: A Star Wars Story was rightfully mocked for: not only do we learn how Fury lost his left eye but did we really need to know how Fury decided to name his future superhero team the "Avengers" and that they were named for Carol Danvers' callsign? That's the equivalent of how Han got the last name Solo. Captain Marvel also contains an interesting twist that the Skrulls are not a malevolent race bent on universal conquest but a scattered group of refugees being exterminated by the Kree and seeking an asylum planet of their own. This explains where Captain Marvel has been since 1995: she was "a couple of galaxies" away helping move her cockney-accented Skrull pals, including Talos (Ben Mendelsohn), to another planet far from the Kree.

What is a Skrull? Captain Marvel defines the Skrulls as an alien race able to "sim" (i.e. replicate) another life form right down to its DNA. It's a perfect simulation, but it's still not the real thing. It gives me no pleasure whatsoever to report that the real Skrull all along in Captain Marvel is the movie itself, which has attractive and talented movie stars, action, humor, special effects - everything that simulates a movie except for the vital things a movie needs to have: dramatic tension, stakes, a main character with vulnerability and impossible odds to overcome, humanity, and a beating heart. Captain Marvel is pure, calculated Marvel product going through all of the proven formulaic motions but with no blood (neither red nor blue) in its veins.

Now, it's undoubtably empowering for girls and women to see Captain Marvel at maximum swagger assert her overwhelming superpowers and become untouchable, and that's wonderful and important. But I sincerely hope as they feel properly empowered, the Carol Corps also someday learns what a movie actually is and what a movie is supposed to do, and that it's okay for Marvel's most powerful superheroine to have flaws and be human - that's what makes her and her movie interesting. Maybe Thanos will bring out the hero in Captain Marvel and show us that she's more than her colorful suit and her shiny superpowers. We know Captain Marvel can kick ass - maybe, as she leads the MCU into the future, she can find the time to be a person too.

Friday, March 1, 2019

Star Trek: Discovery Season 2 On Screen Rant


Star Trek: Discovery is back for season 2 with Spock, Captain Pike, and me writing tons of stuff about it for Screen Rant. Linked below are all my season 2 features for the Disco:

Tuesday, February 12, 2019

Happy Death Day 2U



Happy Death Day 2U name checks Back to the Future Part II (which Tree Gelbman hasn't seen, just as she never saw Groundhog Day or knows who Janis Joplin is), but let's get even kinder (and crazier): Happy Death Day 2U is The Dark Knight of the Happy Death Day franchise. That sounds ridiculous until one considers the key element the two sequels have in common: escalation. Like the second Christopher Nolan Bat film, director Christopher Landon's sequel goes bigger - far bigger - with loftier ideas that raise the stakes and invents a terrific new scenario while also cleverly using the existing cast of characters in amusing new ways. Rather than just rehashing the premise of the original Happy Death Day, Tree (Jessica Rothe) finds herself in a brand new, more complex situation where she deals with a new twist on her old problem while coping with an even bigger problem. And, as Tree is wont to do, she rises to the occasion to save the day (that won't end).

Picking up exactly where Happy Death Day left off - Tuesday, September 19th - the sequel wastes no time explaining the one thing the original (or Groundhog Day, for that matter) didn't: what caused Tree's time loop in the first place? The answer is Sisy, also known as the Sisyphus Quantum Generator, a device Tree's boyfriend Carter's (Israel Broussard) roommate Ryan (Phi Vu) was working on the whole time Tree was reliving the same day. Sisy was built to slow down time but instead, it created the time loop. Sisy is also the cause of the rolling blackouts plaguing Bayfield University and that mean ol' Dean Bronson (Steve Zissis) wants to pull the plug on it. Meanwhile, Ryan is being stalked and murdered by his own Babyface Killer and finds out he's caught in a time loop himself. Luckily, Tree isn't just a fine vagine, she's the world's foremost expert on fighting a serial killer while being caught in a time loop. They quickly beat the Babyface Killer and the movie hits us with its first shock: it's a doppelganger of Ryan from another dimension. Then the second shock: Sisy overloads, sends Tree back into a time loop, and it's September 18th again, but now with the ingenious twist: Tree's not just caught in a time loop but she's also in a parallel universe.

After a quick explanation of the Multiverse theory (the Happy Death Day universe only has 6 dimensions vs. the DC Universe's 52), Happy Death Day 2U has loads of fun tweaking Tree's life in the mirror universe. Here, Tree's roommate Lori (Ruby Modine), who was the Babyface Killer in the original film, is alive and has no murderous intentions towards her because in this universe, Tree isn't sleeping with Dr. Gregory Butler (Charles Aitken). However, Lori is now the target of the new Babyface Killer so instead of repeating the gimmick of Tree being murdered, HDD2U has a blast showing Tree inventing new ways to commit suicide in order to reset the time loop and keep saving Lori. Tree kinda wants to die anyway since in this reality, Carter is dating Danielle (Rachel Matthews), Tree's mean girl sorority sister.  But the biggest complication for Tree is that in this universe, her mother (Missy Yager) is alive, which elevates HDD2U's moral conflict. Tree has to choose between staying in this dimension where she still has a mom versus returning home and being with Carter.  

In Happy Death Day, Tree being forced to live the same day repeatedly made her come to terms with the fact that she stopped being a good person after the loss of her mother. In HDD2U, Tree grows even more as a person when she's faced with the fact that she doesn't belong in this reality (her mother has three years of memories with the alternate Tree that our Tree doesn't have) but giving up this reality means losing her mother all over again. Meanwhile, Tree still finds the time to save Lori by hunting down and learning the true identity of the new Babyface Killer AND she spends her time loop mastering quantum physics so that Ryan and his two science nerd cohorts Samar (Suraj Sharma) and Dre (Sarah Yarkin) can repair Sisy and send Tree back to her proper dimension. Truly, there is nothing Tree can't do.

Through it all, Happy Death Day 2U is anchored by the superheroic lead performance of Jessica Rothe, who effortlessly transitions between horror, drama, exasperation, panic, zany comedy, desperation, gleeful suicide, homicidal rage, heartfelt love for her mom, and every other emotion a person can experience living the same 24 hours over and over. (Tree actually belongs on the Waverider saving the multiverse with DC's Legends of Tomorrow.) Overall, Happy Death Day 2U is a miraculous triumph and does everything a sequel is supposed to do with aplomb. HDD2U is an escalation of everything in the first movie: bigger, smarter, crazier, funnier, and even more emotional - just like The Dark Knight, a movie Tree, no doubt, has never even heard of.

Wednesday, February 6, 2019

Fighting With My Family



"My sister just became the first 18-year-old English girl ever signed by the WWE!" Zak Bevis (Jack Lowden) proudly announces to his family and friends as they cheer on their chosen daughter Saraya-Jade Bevis (Florence Pugh). Of course, Saraya would go on to worldwide fame (and also heartbreak) as WWE Champion, reality TV star, and global superstar Paige. But on this night in 2011, Paige was just a teenager from Norwich, England about to take her first steps into the larger world of World Wrestling Entertainment (WWE). It won't be easy. This is both Paige's story and also, perhaps even more touching, the story of her older brother Zak, the one who got left behind.

Stephen Merchant's witty, insightful, and engaging Fighting With My Family, based upon the true story and the British documentary The Wrestlers: Fighting With My Family, is about Saraya's journey and struggles on the road to WWE stardom but it's also about her unusual family of pro-wrestlers. Her father "Rowdy" Ricky Knight (Nick Frost) and mother "Sweet" Saraya (Lena Headey) fell in love with each other and with pro-wrestling; they are the owner/promoters of World Association Wrestling (WAW) based in Norwich. Her half-brother Roy (James Burrows) was incarcerated after he lashed out when WWE rejected him and her older brother Zak Zodiac dreams of WWE stardom himself. However, Saraya was gifted in ways the rest of the family are not: raven-haired, porcelain-skinned, wildly charismatic, and a natural in the ring, she was the spark of the family and everyone knew it.

Pugh plays Saraya as a bit more of a misfit outsider who may not want the WWE dream as much as Zak, but only Saraya gets picked at a WWE tryout by Hutch Morgan (Vince Vaughn). WWE's talent scout and trainer, Morgan is an amalgam of several of the real Paige's mentors, including the late legend Dusty Rhodes. In 2011, Saraya ships off to sun-kissed and glamorous (compared to Norwich) Orlando, Florida where she trains at NXT, WWE's developmental arm. As literally a lifelong pro wrestler who comes from a wrestling family, Saraya rankles the other female hopefuls, a collection of swimsuit catalog models who are trying to become WWE Divas for the fame and fortune. (The Divas hopefuls' wrestling gear are inspired by those worn by former WWE Divas Eve Torres and Summer Rae and the original NXT cheerleader costume of Alexa Bliss.) In a neat twist, it's Saraya who ends up bullying the girls and alienating them; she had to find a way to become a WWE Diva herself (which included a very poor decision to briefly dye her hair platinum blonde and give herself a spray tan).

Today, WWE is in the midst of a Women's Revolution led by Ronda Rousey, Becky Lynch, Sasha Banks, Bayley, and Charlotte Flair where the women put on epic matches and are main eventing per-per-views, but Saraya landed in WWE during the years when the company was still promoting their Divas brand and training models to become wrestlers mainly to provide sex appeal for their shows. Merchant and Pugh also present a Saraya who's "weak in body and mind", according to Hutch, who tells her WWE shouldn't have picked her and she should go back home and be with her family. Merchant excises and simplifies many aspects of Paige's NXT career. In real life, Paige (billed as "The Anti-Diva") had wrestled in the all-female SHIMMER promotion alongside her mother and she was, in fact, a polished performer who naturally possesses a unique sex appeal. She was a wildly popular NXT Women's Champion and an obvious star destined to go to the WWE main roster. But Pugh's version of Paige (who named herself after the Rose McGowan character in Charmed), is even more of an outlier, lonelier, and far more unsure of herself. The film offers glimpses of the secret self-doubt WWE fans never saw from Paige in the ring.

Meanwhile, back in Norwich, Zak's story is a fascinating one: as the male star of the family, he not only main events the WAW shows (often held in front of a couple of dozen paying fans) but he also runs a school where he trains at-risk teenagers to become wrestlers. Zak even trains a blind teenage boy and develops a system to turn him into a wrestler. Saddled with a girlfriend and a newborn baby, Zak spirals out of control and is understandably furious when his sister looks like she's ready to throw away the dream that was denied him. As compelling as Pugh is portraying Paige's struggles at NXT, Lowden's Zak provides the most heart-wrenching moments as he is forced to reconcile that he lacks the "IT factor" his sister has and that his reality will not change. Meanwhile, Ricky and Sweet Saraya are amusingly opportunists looking to cash in on their baby daughter's status as a WWE Superstar. 

Finally, Paige rededicates herself to NXT and becomes the performer she was meant to be, along with befriending and leading her fellow Diva hopefuls to become better wrestlers themselves. Her efforts don't go unnoticed by Hutch or her guardian angel, Dwayne "The Rock" Johnson (who cameos as himself and, as a producer, spearheaded this movie getting made after seeing the documentary about the Knight family). At 2014's WrestleMania 30 in New Orleans, The Rock breaks the news to Paige personally: she's getting called up to Monday Night RAW and debuting against WWE Divas Champion AJ Lee (Thea Trinidad, doing a spot-on impersonation of the real April "AJ Lee" Mendez). There are also cameos by WWE's The Miz, Big Show, Sheamus, and John Cena.

Millions of WWE fans know how this story goes: Paige defeats AJ in an impromptu match and wins the WWE Divas Championship, lighting the fuse on the Women's Revolution that would follow. It's a feel-good ending to this Rocky story of a young girl from Norwich who made it to the pinnacle of WWE. Fighting With My Family is a solid wrestling movie about WWE (that shockingly features no McMahons or Triple H, the guiding force of NXT!) and an even better comedy-drama about a family unlike any other. Most importantly, Fighting With My Family does right by Paige, her motley clan, and the WWE fans. The film shows what it really does take to be a WWE Superstar: talent, drive, and that extra spark to turn any arena into "my house" - something Paige has in spades.

Friday, February 1, 2019

Alita: Battle Angel



Roger Ebert's review of Batman (1989) begins: "The Gotham City created in “Batman” is one of the most distinctive and atmospheric places I’ve seen in the movies. It’s a shame something more memorable doesn’t happen there." The same applies to Iron City in James Cameron and Robert Rodriguez's Alita: Battle Angel, one of the more vividly realized, dystopic sci-fi futures in recent years where not a whole lot that's memorable occurs - unless you like roller derby. Alita: Battle Angel is a sci-fi action fantasy meant for 12 year olds with a script that unfortunately feels like it was written by a 12 year old. Oh, they killed a dog in the movie. That sucked. The dog was the first friend Alita (a brilliant voice and motion capture performance by Rosa Salazar) made but unlike John Wick, she doesn't go hell-bent on revenge because the dog was killed. Wick 1, Alita 0.

Based on the anime Battle Angel Alita (never read it), Alita begins not unlike how Homer Simpson found out he was Mr. Sparkle in Japan: a kindly old inventor named Dyson Ido (Christophe Waltz) finds the core (head and torso) of a cyborg lady intact in a junkyard. He fuses the core to the robot body he built for his dead daughter Alita and voila, our heroine is born. Alita has no memory of who she is unless she finds herself in action hero scenes where she ends up fighting cyborgs; fortunately, this happens to her a lot. Alita also falls for literally the first boy she meets, Hugo (Keean Johnson), a dude who jacks the parts of cyborgs who were still using those parts and sells them to Vector (Mahershala Ali), the evil entrepreneur who runs Motorball, the most popular extreme sport in Iron City, which is populated mostly by cyborgs. Having seen Alita, it's easy to see where James Cameron jacked many of the concepts of his Jessica Alba-led TV series Dark Angel, including the unbeatable heroine, someone communicating through "eyes only", and how everyone who lives street-level is into extreme sports.

Alita requires a shit ton of exposition and the movie only partially obliges: After the Fall 300 years ago, which was a great war between Earth and Mars, all of the sky cities fell except for Zalem, which hovers above and drops its trash down to Iron City. Once you leave Zalem for whatever reason, you can never go back, unless you become Motorball Grand Champion? Huh? And wait, so the people on Mars were the heroes but lost the war to the people of Earth, even though the Sky Cities fell? Is there only one city left on the whole planet? Anyway, lots of people want to get up to Zalem because it's apparently super nice up there, including Hugo  and Dr. Chiren (Jennifer Connolly), Dyson Ido's ex-wife who now builds Motorball cyborgs for Vector, and I guess sleeps with him too sometimes. As for Alita, she begins experiencing memory flashes of fighting in wars under the designation Number 99, but apparently, there's no Internet or records or books about what happened. Seriously, did no one record the events of the most important war in human history? Is there no library in Iron City?

In order to get with Alita, Hugo and his friends Tanji (Jorge Lendeborg, Jr, who was Memo in Bumblebee) and Kojomi (Lana Condor from To All The Boys I've Loved Before) take the cyborg outside of Iron City into a crashed Martian ship out in the boonies. Alita dives right into the lake and finds an upgraded cyborg body meant for her; finally, Dr. Ido helpfully explains that this is a Berzerker shell and Alita was once a Berzerker - the most advanced weapon ever built. Wait, so she's 300 years old and that ancient tech is more advanced than anything in Iron City or Zalem? No matter, as Alita is destined to be fused into her Berzerker body after her old body is destroyed in a fight with Grewishka (Jackie Earle Haley), a hulking cyborg sent to kill Alita by Nova, the real villain of the story (who I guess we'll get to... someday? If there's a sequel? Maybe?)

Most of Alita's story spans just a few days and in that time, Alita and the film itself struggle with finding something for our cyborg heroine to do. Is she dedicated to finding about her past? Kinda, but in fits and starts. Does she want to be a bounty hunter like she discovers Ido is? Kinda. Okay, the idea that Dr. Ido, an old man with no robot parts, is some kind of effective bounty hunter because he carries a giant laser ax is the most far-fetched thing in this far-fetched movie. Alita's sure about one thing: she's a murderbot who wants to be a lovebot to Hugo (the movie completely dances around whether Alita's cyborg body comes with the necessary... parts). All Hugo wants is to get to Zalem (and not tell Alita about the whole jacking cyborg parts for money thing), so Alita decides to be a good girlfriend and become Motorball Champion so that she can earn the money Hugo needs to buy his way into Zalem. This is when Alita veers into The Phantom Menace territory, if the whole point of Star Wars: Episode I was the Podrace. Lots of cyborgs in Motorball try to kill Alita and one expects Sebulba to show up and join in.

Ultimately, it turns out Alita is like Unbreakable, the first act of a larger story, but unlike M. Night Shyamalan's trilogy, Alita may not spawn the necessary sequels so maybe they should have just gone balls out with this one instead. The film ends with a tease of what's to come and Alita never makes it to Zalem to fight Nova, who somewhat hilariously is revealed to be Edward Norton. The best thing in Alita turns out to be the thing that seemed to be the most problematic on the outset: Uncanny Valley Girl. Thankfully, Alita and Rosa Salazar's performance are excellent. Her huge, expressive anime eyes, the way Alita's smile has a little bit exta gum just like Salazar's, and her fighting abilities turn out to be amazing. The single best scene in Alita is the bar scene when, newly christened as a bounty hunter, she goes to recruit other bounty hunters with a Braveheart-like rally speech and beats the crap out of Zapan (Ed Skrein), a cocky, sleazy cyborg who carries a big laser sword, which Alita takes. "That bitch broke my nose!" Zapan yells. "Yes I did," Alita cooly replies. That moment was the high point of Alita: Battle Angel, which sadly never ramps up to be more than the sum of its cybernetic parts. On the plus side, the movie does call Alita "Battle Angel" so since they said the title of the movie, four stars.

Friday, January 18, 2019




M. Night Shyamalan's compelling, confounding, and idiosyncratic Glass is like looking at an elegant chandelier. We marvel at its construction, the way it captures light and color, the reflection of ourselves we see in its crystal, the audacity of its design, and then the chandelier falls on top of our heads. Elegant.

Glass is, of course, the sequel to Unbreakable and Split 19 years in the making. A lot has changed since Night, then a wunderkind at the peak of his powers, dazzled us with his comic book-inspired origin story of David Dunn (Bruce Willis), an ordinary man who discovers he's superhuman. Unbreakable was released in 2000, at a time when superhero movies had just experienced the start of an unprecedented boom that began with Bryan Singer's X-Men, which had arrived just months before. Two decades later, in an age where there have been dozens of superhero movies that cost hundreds of millions and have grossed billions of dollars, Night returns to the genre with Glass, a superhero movie that has no budget to be a superhero movie but goes for it anyway. One of Night's most obvious tricks is the way he repeatedly telegraphs a climactic showdown at Osaka Tower, the newly-built tallest building in Philadelphia, but the hero and villains never make it there - it's not in the budget! 

In Glass, the older and greyer David Dunn has become a local legend, a superhero vigilante called the Overseer (also called the Tip-Toe Man and the Green Guard). David is on the hunt for Kevin Wendell Crumb (James McAvoy), also known as the Horde, who suffers from Dissociative Identity Disorder and manifested 23 distinct personalities that serve the 24th, the superhuman, animalistic Beast. Now a widower after his wife Audrey (Robin Wright) died of leukemia five years prior, David runs a home security firm with his son Joseph (Spencer Treat Clark) but he has no clients, which conveniently lets him walk the streets of Philadelphia looking for the Horde. Joseph is David's Man in the Chair and he still adoringly worships his super dad. Meanwhile, the Horde is up to his old tricks, kidnapping teenage girls to feed to the Beast. David and Joseph's strategy is to walk around Philadelphia hoping David runs into the Horde and sure enough, he does! That was easy! After a super-tussle filmed with a bizarre crosscutting of first-person POV and wide angle shots of two men shoving each other into walls and through a window, David and the Horde are captured by the police and remanded to the care of psychiatrist Dr. Ellie Staple (Sarah Paulson).

The rest of Glass takes place almost entirely in the gloomy, foreboding Raven Hill Memorial Hospital (is Hannibal Lecter in the basement?), which is now outfitted with multiple cameras and elaborate traps to hold three captives who, according to Dr. Staple, suffer from the delusion of grandeur that they are superheroes. Staple (that is to say Night) telegraphs a climactic twist when she says "they" gave her three days to convince David, Kevin, and the third inmate, Elijah Price (Samuel L. Jackson), the mastermind who helped create David and has been imprisoned ever since, that it's all in their heads. David's cell is built to spray him with gallons of water if he gets out of line; water is his weakness, but whereas before in Unbreakable, it was inferred that David was susceptible to drowning because of the density of his unbreakable bones and skin, now, apparently even a cold shower renders David powerless. Meanwhile, Kevin's cell is built with strobe lights that force him to instantly switch among his 24 personalities. Each time Kevin goes for the door, the lights force him back, and none of his 24 personalities ever think to just close his eyes. Meanwhile, Elijah keeps appearing out of his cell despite the hospital keeping him heavily sedated.

The kindly but mysterious Dr. Staple tries to convince David, Elijah, and Kevin that the only thing special about them is how crazy they are and she starts to get through to the Overseer and the Horde. As they begin to doubt themselves, each inmate has their particular True Believer visit them at the hospital: David has Joseph, Elijah has his mother Mrs. Price (Charlayne Woodard), and Kevin has Casey Cooke (Anya Taylor-Joy), the girl he abducted in Split but the Beast let go because, as children who suffered abuse at the hands of a parent, they are kindred spirits. To better understand Kevin, Casey gives herself a comic book 101 crash course while Dr. Staple rails against comic books and the fanboys at Comic-Con in a bizarre rant that comes out of left field, but it sets up an overall statement about the genre that Night seems to be building to.

Eventually, Elijah plays his hand: he wants the bad guys, Mr. Glass and the Beast, to team up and blow up Osaka Tower. Naturally, David has to free himself and stop them and it culminates with an epic super brawl at Osaka Tower a weirdly staged super tussle in the hospital parking lot. David fights the Beast but there's plenty of time for asides with all of the major players as the Big Reveal is dropped, which is shocking to anyone who didn't figure it out already: Kevin's dad was in the same train crash that David was in back in 2000, ergo Mr. Glass created Kevin Crumb's super-villain at the same time he created David Dunn the superhero. And then, just as that sinks in, all three super people are dead in horrible fashion! A SWAT Team drowns David in a puddle, shoot Kevin in the stomach, and Mr. Glass dies from his wounds when the Beast mauls him. 

As all three die in the arms of their True Believers, Night drops his Real Trademark Climactic Twist: the "they" Dr. Staple referred to earlier is a secret society that has existed for 10,000 years who have suppressed and eliminated superhumans as they've emerged into the world. This unnamed cabal has black cloverleaf tattoos on their wrists and likes to dine at a particularly fancy restaurant. Then, Dr. Staple learns Elijah's Twist: he was never planning on blowing up Osaka Tower (it's just not in the budget); the Mastermind wanted Ravin Hill's hundreds of cameras to record the fight between David and the Beast so the True Believers could remotely upload the footage to everyone's TV and phones. The point was for people to see for themselves that superhuman people exist.

So what's Night going for here? Seems to me he has a couple of Big Ideas. One, Elijah, who believed in comic book superheroes being real his whole life and was dismissed as crazy for two decades, wanted the world to see what he knows is real. Whether or not the world believes the footage isn't the point, it's about Mr. Glass' line that "we allow ourselves to be superheroes" - i.e. it's the other people in the world who believe that they are special but deny it who Elijah is trying to reach, so that they see there are others in the world like them and that it might spark their own emergence. "It was always an origin story," Elijah declares with his dying breath. If Unbreakable was David's origin story, Glass is the origin story of a bigger universe of superheroes. (A universe that we may never see any more of.)

The second Big Idea Night seems to be going for is a statement about shared superhero movie universes themselves. Glass is so weirdly shot and staged where the cinematography robs both David and Kevin of the moody atmosphere that was so effective and important to the tones of Unbreakable and Split. While using colors to differentiate the characters and their moods, with the muted pink room symbolizing Kevin and David's doubts about themselves, Night seems to be saying that taking these heroes and villains out of their universes that were expressly designed for them and putting them together is in itself drab and robs them of their atmosphere, which was part of their effectiveness. For instance, look no further than how the shadowy universe of Batman had to be cartooned up so the Dark Knight could fit in Justice League, which diluted Batman and turned him into a mere action figure playing with other action figures. The sheer weirdness of Glass is like Night saying a shared superhero universe doesn't always benefit the superheroes themselves, hence the fearsome Beast becomes about as scary as the Hulk is when he's hanging out with the Avengers. (It also hurts when you don't have a competitive budget.)

So, Glass is weird, and awkward, and frustrating, but also compelling, brave, and fascinating. McAvoy goes for broke, jumping back and forth between a couple of dozen personalities at the drop of a hat while still making each one feel distinct. Once he's allowed to stop Faking It Buster Bluth-style and lets loose, Jackson relishes playing Mr. Glass again. The odd one out is poor Bruce Willis, who has little to do except wait around to fight and die, in that order. David just fades into the background and has the thankless job of being the stoic good guy. Compared to his flashy villains, Night was interested in David Dunn the least and ultimately, Glass is an ignoble ending for our Unbreakable superhero. Paulson is terrific as Staple, keeping her cards close to the vest the whole film, and there isn't nearly enough of the magnetic Taylor-Joy, who steals every scene she's in, especially with McAvoy. A film whose plot points are fueled by coincidence and contrivance, Glass is very much like the heretofore mentioned chandelier that eventually falls on your head, but what a way to go.