| Universal Pictures | Release Date: January 18, 2019 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
9
Mixed:
36
Negative:
8
|
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Critic Reviews
The Film StageJan 16, 2019
This movie treats comics not as a narrative format to be recycled and adapted, but as religious myths to be followed and fulfilled. It is a single, impassioned vision that is totally uncompromising and utterly its own, comprised of layers and ideas that, while messily delivered, deserve to be turned over and explored.
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Jan 17, 2019
Unfortunately, the director who came in too early for the superhero craze may now be revisiting it too late. The genre now monopolizes the multiplex, and it seems as if everything about comic books and superpowers and misanthropy has already been said. But Shyamalan still says it, in an unfocused movie with some interesting ideas, and so much expositional dialogue in place of action, it’s sometimes more of a lecture than a thriller.
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IndieWireJan 9, 2019
The trouble with Glass isn’t that its creator sees his own reflection at every turn, or that he goes so far out of his way to contort the film into a clear parable for the many stages of his turbulent career; the trouble with Glass is that its mildly intriguing meta-textual narrative is so much richer and more compelling than the asinine story that Shyamalan tells on its surface.
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The GuardianJan 17, 2019
The TelegraphJan 10, 2019
Intermittently entertaining but also a rum mix of goofy and pretentious, Glass sets far more problems than it successfully solves: tying various loose threads together, Shyamalan can’t restrain himself from adding more. The result’s a lumpy tangle, and the trilogy’s weakest instalment.
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Jan 9, 2019
It’s also hard not to judge it against the movie it might have been. In 2000, Unbreakable felt like an anomaly, a superhero movie that steered clear of camp and dug into the genre’s bedrock. It could have been thrilling to extend that approach into 2019, where superheroes storm the multiplex on a monthly basis, and there’s no longer a need to laboriously explain the culture behind them. Unfortunately, it seems that laborious explanations are the part Shyamalan likes. He’s the evil mastermind detailing his plot for world domination, knowing that the villain’s monologue is a terrible cliché but unable to resist the urge.
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Jan 17, 2019
The film tries to be clever by going meta: Once again, it’s rooted in Mr. Glass’ conviction that superheroes are real, and it repeatedly name-checks comic-book tropes that are reflected, languidly, in the movie’s own plot. But in the end, all it really reveals is a onetime visionary’s glass now half — no, let’s go with mostly — empty.
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Jan 16, 2019
Cobbled together on what appears to be a very low budget, Glass shatters under the weight of too many comic book allegories-cum-history lessons, weirdly abrupt plot machinations, epically puny bouts of brawny fisticuffs, and a third-act bit of outright what-the-f**k-ery that gives even the lamest deus ex machinas a bad name.
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Jan 16, 2019
The mythology he tries to build in Glass is rushed and sloppy; the surprise twist at the end is really just more of a damp wrinkle. Shyamalan believes so strongly in the dramatic impact of this trilogy that he almost makes you believe in it too — that’s his secret superpower. But the illusion is fragile. You don’t need a sixth sense to know you’re in for a letdown. The five you’ve got should be plenty.
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Jan 17, 2019
McAvoy and Paulson fight as hard as they can against Shyamalan’s instincts – even though, as with "Split," it’s gross to watch dissociative identity disorder played for horror and laughs – but theirs' is a pointless battle. The somnambulist Willis and Jackson have the better idea, dozing through their scenes until the cheques clear. (Jackson, to be fair, has the benefit of his character being literally asleep for the film’s first hour.)
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