Security guard David Dunn uses his supernatural abilities to track Kevin Wendell Crumb, a disturbed man who has 24 personalities.
Glass is an example of a film where the final installment, theoretically meant to be a symphony of its predecessors, isn’t quite on par with the sum of its parts. With the realistic and highly conceptual films Unbreakable (2000) and Split (2017), director M. Night Shyamalan has spent nearly 20 years re-imagining the superhero genre—mostly for the better. But even with the best that Marvel and DC can buy, Glass falls a little short, despite adhering to the formula that made the movie’s predecessors successful.
While the film is overall intriguing, which is a good sign for Shyamalan, as his career bests tend to focus on the very subject, it underwhelms in equal parts. The three leading performances from Bruce Willis, James McAvoy, and Samuel L. Jackson show a lot of commitment to the material, and even the dealings of superpowers and their purposes are tantalizing. The missing link to the film is rather simple: So much is spelled out in the end, so obvious and with intrusive signs, that it seems Shyamalan does not trust his audiences to make their own conclusions.