Concluding a trilogy two decades in the making, Glass brings together the characters of 2000’s Unbreakable and 2016’s Split in an unconventional superhero showdown. We both enjoyed it, though it’s a bit of a trifle, but it’s enjoyably oddball and features a particularly brilliant performance from James McAvoy. And we appreciate M. Night Shyamalan’s direction, staging and camerawork, which, while occasionally a little stilted and ‘filmmakery’, for want of a better word, is thoughtful and always strives to create interesting and meaningful imagery.
The film feels significantly affected by the Marvel Cinematic Universe’s influence on comic book movies and their public acceptance; there are things that Glass does, ways it behaves, that are difficult to imagine having made as much sense prior to that series. Indeed, this trilogy is a universe of sorts, with characters from different films being brought together in a shared world.
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Visually disappointing but narratively enthralling film about a Looper, an executioner who kills people from the future in the present. Time travel doesn’t exist in the present but it does in the future, thus people from the future get shipped back to the film’s present, the looper shoots them as they appear, disposes of the body and gets paid. No one is looking for the bodies in the present and nobody can find them in the future. But who is disposing of these bodies and why? That’s what the rest of the story tries to tell in this dystopian futuristic thriller in which one can detect elements of The Omen (Richard Donner, USA, 1976) and The Fury (Brian de Palman, USA, 1978). The story lacks tension and feels a bit long but it does fascinate. The drugs, the want, the sense of a failed state with no law and order, with hungry people rummaging the countryside and those prairies full of rotting fields are a subtle critique of America now and, like many contemporary films, Looper deals with current anxieties by depicting, denouncing and somewhat resolving the most hateful aspects of this new Depression we’re living in, albeit tangentially. Joseph Gordon-Levitt does a subtle imitation of a young Bruce Willis, it’s mostly the nose, but with a few mannerisms thrown in; then he shows what a truly brilliant actor he is because he can let go of the disguise; it’s not straightforward imitation. Emily Blunt disappoints; sadly, because she’s so sympathetic one wants her to be good. Looper is intelligent and enjoyable sci-fi thriller that offers well-executed action and also leaves audiences with an interesting set of ideas to think about and discuss.
Sylvester Stallone has had so many facelifts he now looks like an unsexy version of the cartoons Mad Magazine used to do of him in the 70’s. Yet he’s now been starring in big-budget movies for close to 40 years. Bullet to the Head (James Bonomo, USA, 2012) also had a theatrical release earlier this year and is now out on DVD plus there are two more films currently in postproduction. The man’s career is unstoppable. Why that is so is a mystery: I can’t think of another star who’s sustained that kind of career for that long with barely two good films in his filmography — The Expendables 2 isn’t one of them. Bruce Willis, Arnold Schwarzenegger, Jean-Claude van Damme, Chuck Norris, Dolph Lundgren and other 80’s action stars parade through the film like a taxidermist’s prize exhibit. Jet Li and Jason Statham figure as more recent generations of action stars. Liam Hemsworth presumably wants to join the club. It was a hit.