I was massively looking forward to this as I liked Unbreakable and I really liked Split, and while this was a perfectly competent movie, it lacked a certain something. A decent wrap up to the story, but without the emotional investment i had in the others, and too many references to stand on its own.

Glass (2019), directed by M. Night Shyamalan, attempts to serve as the highly anticipated conclusion to the Unbreakable trilogy, bringing together characters from both Unbreakable (2000) and Split (2016). Starring Bruce Willis as David Dunn, Samuel L. Jackson as Elijah Price (aka Mr. Glass), and James McAvoy as Kevin Wendell Crumb (the man with 24 distinct personalities), the film tries to tie together their individual stories into one grand, final narrative. However, despite its intriguing premise, Glass ultimately falls short of its potential. The film begins with David Dunn (Willis) continuing his vigilante activities, using his superhuman strength and heightened senses to stop crimes in Philadelphia. At the same time, Kevin Wendell Crumb, who has multiple personalities, continues to be a danger to society. Both characters are eventually captured and brought to a psychiatric hospital, where they are introduced to Elijah Price, a mastermind with a fragile mind who sees himself as the architect of their destinies. One of the film’s strengths is the performances. McAvoy is once again captivating as the schizophrenic Kevin, seamlessly switching between his various personalities. Jackson, always a commanding presence, gives Mr. Glass a mix of charm and menace. However, Willis’ portrayal of David Dunn lacks the emotional depth needed to truly invest in his character’s journey. His stoic demeanor, which worked in Unbreakable, feels more disengaged in Glass, leaving his character’s arc feeling underwhelming. While Glass raises intriguing questions about identity, destiny, and the limits of human potential, its pacing is inconsistent, and the narrative structure feels disjointed. The majority of the film takes place in the confines of the psychiatric hospital, where Shyamalan attempts to explore the characters’ psychology in a way that feels both overly expositional and contrived. Instead of a climactic showdown, the film builds toward a disappointing resolution that, while attempting to be thought-provoking, ends up being confusing and unsatisfying. The final act is perhaps where Glass falters most. Shyamalan’s decision to subvert expectations and deliver an ending that challenges the conventions of superhero films may have been bold, but it feels anticlimactic. The build-up to the resolution is slow, and when it finally arrives, it doesn’t pay off in a way that resonates emotionally or intellectually. Ultimately, Glass is a film that has the bones of a satisfying conclusion but never fully delivers on its promise. The mix of superhero tropes with psychological drama is an ambitious approach, but the execution leaves much to be desired. For fans of the trilogy, Glass provides a conclusion, but it’s one that feels more like a missed opportunity than a triumphant finale.

6.4/10 Obvious praise goes to the cinematography and score (although I’m a bit disappointed the track “Visions” from Unbreakable didn’t make a return for the scene in which David finds the Horde). I do like the slow burn angle Glass takes. The back and forth between David believing himself to be a superhero and a normal man is interesting. Of course, James McAvoy as the Horde is always a pleasure to watch. Glass really falls flat at the end. Not entirely, though. I like the twist of Elijah simply wanting to present the footage to the world, and not really being a super villain. Kevin’s death is great too. The bad parts of the finale are really bad, though. First of all, David Dunn goes out drowning in a puddle. Talk about anticlimactic. Then, they try to shoehorn in the organization hell bent on keeping superheroes a secret, and it just does not work. It’s introduced in the last 10 minutes of the movie and doesn’t get nearly enough explanation as to who they are or why they’re doing what they’re doing.