Two years ago, I walked into an auditorium to sit down and watch It: Chapter 1 with some horror-loving friends, some of whom were devoted Stephen King fans eager to see what a modern adaptation would look like. I was admittedly a little apprehensive, as I had strong pangs of nostalgia from the 90s mini-series starring Tim Curry, which had its scares but was ultimately let down by its weak ending, which left room for improvement. Further reservations were also abound by my underwhelming reaction to Mama, Andy Muschietti’s directorial feature debut, but I was willing to forego any misgivings and not judge on a token outing from the director and I was also open to seeing Pennywise in the 21st Century and how he would relate to the current cinema-going audience.
It turns out that Warner Bros. marketing team tapped into the social platforms of the “connected” generation and elevated the dancing clown into the pop culture mainstream, thanks partly to the look that was generated by the production team and Bill Skarsgård respectively. Whilst the movie itself didn’t resonate with me the same way it appeared to with the younger demographic, as I found the film lacked in decent scares, resorting to jump scares and it didn’t shift into dark enough territory for me, and Pennywise never terrified or disturbed enough, so I was left wanting as a result. It did however tap into one of King’s strongest elements in his writing and that is in its young misfit characters that unite against a common enemy that was imperative for the movie to have any chance of impacting at all. Here, Bill, Beverly, Ben et al had such a strong connection, that we were willing to go along for the ride for good or ill.
Fast forward to today and the passing of time has seen some changes in the Surgeons team. Some have left for other ventures or simply shifted into a whole new reality, and on this occasion I found myself without my usual horror-loving fiends alongside me and would have to face Pennywise on my own, a juxtaposition to the comrade of adult characters in the film, who depend on one another to defeat Pennywise once and for all.
My expectations were considerably low this time around following the first movie, but I was pleasantly surprised by this second instalment. The scares were still absent, but the adventure packed scenario that The Losers were confronted with this time around were made for entertaining viewing, mainly thanks to Bill Hader (Richie) and James Ransome (Eddie) who churn out strong performances and in many ways overshadowed the more A-list actors, James McAvoy (Bill) and Jessica Chastain (Beverly) who could have just phoned it in and weren’t really able to add much depth to their characters despite the near 3 hour running time.
So if character development isn’t packed into the time frame, then what exactly fills the narrative? It has a fairly weighty narrative, and to Muschietti’s credit, he manages to sandwich in a fair amount of the original story or concept into his version with a few notable exceptions, and in doing so, I was happy to one again be taken along the journey to its CGI-filled conclusion. One that was questionable but still managed to tug at the heart-strings in the quest for victory.
Pennywise still failed to scare despite Skarsgård’s unique portrayal and Chapter 2 feels content to rest on a more feel-good, fun ride to conclude the Loser’s Club’s adventures against the dancing clown. Horror fans will once again feel robbed of what could have been a dark and destroying creature that feeds on our greatest fears, but will be entertained nonetheless.
The ultimate test will be if it resonates with the audience for the production distributors to warrant another visit to Derry and spark an ongoing franchise into the mythology of Pennywise. Time will tell.
Like comedic relief, Bill Hader has the best lines, but it felt like the director was playing for laughs rather than decent scares.
IT chapter two is a fun romp sadly ending in just one more film about the fear devouring Macroverse entity who appears to cheerfully as a psychotic clown. Bill Skarsgard reprises the role as the young’uns return to Derry, Maine 27 years after thinking they had defeated IT. The adult cast all delivered stellar performances channeling their younger personas but Bill Hader’s Ritchie was a personal favourite. As a fan of the 80’s miniseries I personally liked the updated take on this terrifying journey.
I remember it clearly, the end credits were rolling, the
auditorium lights were fading up when a well-known media personality, that I
won’t name, turned around in his seat in front and said to my friends and I;
“What the fuck was that?”
The year was 2000 and I’d just sat through a preview screening of M. Night Shyamalan’s much-anticipated follow-up to his previous blockbuster ‘The Sixth Sense’, ‘Unbreakable’. My friends and my reaction was the complete polar opposite of said famed personality. We saw the film for what it was, an utter genius take on a superhero origin movie.
‘Unbreakable’ was in
fact a bold experiment by Disney, they’d entrusted their new wunderkind
writer/director to follow up his previous success with another, and he’d gone
and made a superhero movie way before anyone had.
Over the years that followed I re-watched and re-watched its
Special Edition DVD. It was my go-to movie any time I was looking for something
to watch. I devoured its rich story telling, it’s perverse humour, the subtle technique
in reveal and what to not reveal. I loved the raw drama; of a normal couple
toppling over a razors edge, two middle-aged men (Bruce Willis and Samuel L
Jackson) searching for their place in the universe, a son desperately holding
onto that time in your life when your parents are infallible. None of these
were, or are, the standard ingredients of a comic book superhero movie. I
savoured the Special Features on the DVD, particularly the ‘deleted scenes’,
lamenting on their loss to ‘Unbreakable’
considering they were such strong scenes.
I loved the film from back to front…but the critics didn’t.
Reading bad review upon bad review I wondered whether the critics had watched
the same film.
Over the years I’d heard rumours that ‘Unbreakable ‘was to be the first film, the origin film, of a trilogy, but the more and more M Night spiralled into mediocrity with flop after flop, first came ‘The Lady In The Water’ and ‘Avatar The Last Airbender’, etc. etc., only slightly redeeming himself with ‘The Visit’.
So flash forward to 2018 and there I was ‘giving M Night
another go’, I sat in my lounge room watching ‘Split’ because, well…James McAvoy is always bloody amazing and I’d
just watched Anya Taylor-Joy in ‘The
Witch’, so yeah….
And I was really enjoying it a lot. Though the more and more
I watched, more and more something nagged at me – there was something really
familiar at play here. The subtle reveals, the perverse humour, its dark
Was McAvoy’s many characters crazy? Hell yeah, he did have
some serious mental defects but the big question, as with David Dunn in ‘Unbreakable’…were his powers real or a
figment of a wild imagination?
Would we see a supernatural being called The Beast or would
it be some delusion fool with a furry fetish?
But it was as I was watching The Beast talk about the
‘broken’ being pure and the ‘unbroken’ were to be punished that things really
started to click. By the time the ‘Unbreakable’
music began to swell as Crumb hid in his escape house and we cut to a
non-descript diner with David Dunn I was literally off the sofa screaming at
“IT’S A MOTHER FUCKING UNBREAKABLE SEQUEL!!!”
And so now I have my finale.
‘Glass’ is really
not a movie I can openly discuss with giving too much away, and frankly I’m
still thinking about it several hours after I watched it. However again I sat
in a cinema with an audience that I don’t think quite understood its wit. I
think I was literally the only one laughing at its dark humour.
The cast were amazing, all returned from the previous two
films (except Robin Wright) and why wouldn’t they, this was as much their story
as it was the leading pro/antagonists. M Night (returning as his cameo from ‘Unbreakable’) even managed to include
the deleted scenes from ‘Unbreakable’
as if they were made solely for that purpose.
This is not a conventional film though; ‘Glass’ is really is an act three of a three-film
story. And while both ‘Unbreakable’
and ‘Split’ appear to be origin
stories for the three lead characters Mr Glass, The Beast, and The Overseer,
this transcends the ‘origin’ tale to make it an ‘origin of species’ story.
Already, like Unbreakable,
critics do not like Glass but
filmmakers don’t make films for critics.
‘Glass’ is a fantastic
final chapter to M Night Shyamalan’s daring superhero experiment. It’s
exciting, it’s funny, it’s bloody entertaining and it’s a very well calculated
story from a bold director who maintained the tenacity to play the long game
here to create a three part opus for himself and us.
‘Unbreakable’, ‘Split’ and ‘Glass’… the little superhero films that could and did.
Like me, you may have believed that The Sixth Sense was M. Night Shyamalan’s directorial debut, such was the impact that movie had on his career and the horror genre.
Before this movie awakened our senses and Shyamalan became known as the director with the twist endings, he would take the helm with two other features, Praying with Anger, and Wide Awake.
The former would see Shyamalan write, direct, produce, and star (a sign of things to come) in a self-reflective story about an Indian American, who was raised in the States who goes to India to study, and a conflict of Western and Native culture collide.
Clearly, there is a lot of the director’s love and labour thrown into this project as he covers every aspect of the production process.
Six years later (1998) Shyamalan would venture into his sophomore feature with Wide Awake, a comedy drama starring Denis Leary, Dana Delany, and Rosie O’Donnell.
Once more faith, and religion (a reoccurring them in Shyamalan’s work) would play a part in this story, as a 10-year-old searches for answers around life and death.
Another signature that would return for the third movie and the film that would put Shyamalan’s name on the map would be to tell the story through the eyes of a young boy, capturing the essence of innocence in a ‘brave new world’.
The Sixth Sense
The blessing and the curse
The film was nominated for six Academy Awards and thrust Shyamalan into the spotlight.
The Sixth Sense has been referenced and parodied on numerous occasions, and cemented itself firmly into pop culture.
Starring Bruce Willis, Toni Collette, and career defining performance from Hayley Joel Osmont.
Despite all the accolades thrust toward the movie, because of its ‘surprise ending’, it falls into the trap of lost magic, once the reveal is apparent.
People may have been keen to re-watch and scrutinise every aspect for the clues set up along the way, but essentially, you could never capture THAT moment again with repeat viewing.
It’s a strong contender in Shyamalan’s canon of work, but arguably not his finest hour for this writer.
Personally, I don’t feel he has managed to top his follow-up movie…
The elevation of success continues
Bruce Willis would once again work alongside Shyamalan following the success of The Sixth Sense.
This time Samuel Jackson and Robin Wright, rounding out a stellar cast that would accompany him.
Shyamalan’s ode to the comic book genre has been labelled as one of the best superhero movies of all time and you can clearly see the director’s love for the subject.
Unbreakable is a wonderful shot and beautifully told story that pits Willis’ David Dunn, a man who discovers that he is as the title suggests, unbreakable when he is the lone survivor of a train crash.
Dunn pits his strength and wits against Jackson’s Elijah, his polar opposite in that his body is prone to fracturing easily and in my mind, one of the best things about the film is the way Shyamalan’s narrative leads you to believe and identify with the reasons that Elijah resorts to villainous behaviour, a topic that many have tried but failed to convey.
Shyalaman’s third success would come in the form of…
The last hurrah?
Signs would complete Shyalaman’s hat trick of successes before his fall from grace.
Once more faith is put under scrutiny when Gibson’s Father Graham Hess is struggling to identify with his religion after the loss of his wife.
It’s his acceptance of that grief that shoulders him and ultimately his family through an alien invasion that threatens their way of life.
With each movie Shyamalan has released his formula had been pretty consistent, but audiences were starting to wisen up to his craft.
His next feature would break the camels back and see a downward trend in Shyamalan’s fortunes.
The one trick ponyrevealed
I’m gonna ask a question here relating to The Village, which in my opinion has received unfair criticism towards it.
If Shyamalan had not been the director, would we (the audience) have been so scornful?
Too many people had become familiar with the directors trick of adding a surprise ending that when said trick arrived in The Village, there was a sense of being let down.
“Oh, is that it? WTF!!”
However, if you take Shyamalan out of the equation and simply look at the movie on its own merit, it’s actually a lot stronger than our immediate reactions warranted.
Joaquin Phoenix returns as Shyamalan’s latest muse, this time portraying Lucius one of the next generation of a secluded villagers that we’re led to believe darkens back to days of yore, such is the existence that the inhabitants lead.
Believing that their secret is set to be exposed, the Elders are rescued by a stroke of luck when a blind girl, Ivy (Bryce Dallas Howard) ventures out into the outside world to retrieve some much needed medicine.
As I said, I liked this movie. Agreed not Shyalaman’s finest hour but it’s a solid movie.
Any fans of the directors work that found themselves sitting on the fence of uncertainty about Shyalaman’s directing prowess, would find their confidence drift further with his follow up film…
Lady In The Water
The fall from grace
There’s no doubt in my mind that Shyalaman is a smart man.
His intelligence brims to the surface of all of his movies.
But like another smart man once said, ‘With great power comes great responsibility.’
And with his recent run of successful movie hits, one can’t help but thing that Lady In The Water is an example of how the directors vision had left his vision firmly in the clouds.
You have to commend him for the effort portrayed in infusing a fantastical world based in reality, but Shyalaman is so absorbed in his own creation and egotistical views that he fails to see the bigger picture, and because of this, he loses his audience in a convoluted mess of a fairy tale.
What makes it worse, is the now notorious self-casting of the writer come to save us all.
It feels so egotistical that and the delusion is worrying sign for a director/writer who had shown so much promise.
And as if he were hell-bent on destroying his career, Shyalaman decides to kill off a character within the plot who just so happens to be a movie critic.
If Lady In The Water has one saving grace, it’s that Giamatti’s performance keeps the narrative bopping above the surface, but not even the addition of a good cast in support, notably Bryce Dallas Howard as the nymph, Story, and Jeffrey Wright as Mr Dury can help save this film from drowning in a pool of its own vomit.
So, where to from here?
His first box office disappointment and Shyalaman chooses to push on regardless with…
The film that limped across the line.
With a point to prove, Shyalaman would turn his attention next to a B-Movie horror with smarts.
But The Happening was hardly a victory.
Starring Mark Wahlberg, who himself criticised the film and Zooey Deschanel, an actress who usually sets the screen alight with her strong performances.
With a promising start, The Happening does hold promise, but the audience once again finds themselves lost in the lack of plot structure and smothered by the overbearing message on environmentalism.
By now, we’ve reached the mid-way point of Shyalaman’s career thus far and the feeling I get as I survey his filmography is that he’s a man with grand visions and ideas, but he’s not necessarily going to execute them effectively.
Case in point…
The Last Airbender
Dead on arrival
Based on the successful kids tv series on Nickelodeon, The Last Airbender should have been a success given its strong following, and this could be in part why it received a fairly strong opening weekend at the Box Office.
But the first movie that Shyalaman would attempt from a story that wasn’t his own would prove to be another failure for the director.
This film to me feels like a move from a guy who is lost in the world and with no sense of direction or where he is going.
Which is understandable considering his recent run of poor performances.
With a central character who displays no personality whatsoever and a script that clearly doesn’t connect with the writers ethos, The Last Airbender is a film that doesn’t even register on the Richter scale and doesn’t stir any emotion at all.
This is Shyalaman’s lowest point in his career.
When you reach rock bottom there’s only up though, right? Right?
An interesting response from Shyalaman during this time was to put on his producer hat and support another movie released in 2010 called Devil.
This film was actually quite good and showed promise, but importantly saw a success under Shyalaman’s name but this time not as a director.
That particular journey had still needed to right itself and was by far from finding solid ground.
Instead we’re treated to…
This movie was essentially a passion project of Will Smiths.
Based on an idea that he developed, After Earth would also star Smith’s son Jayden and produced by Smith himself alongside his wife, Jada Pinkett Smith and Shyalaman.
The latter of whom feels like is still in self destructive mode, clambering up the sides of the hole of failure, which he pretty much dig himself.
As if he didn’t learn his last lesson, Shyalaman plummets into another disappointing film by tackling a story that is not his own.
Ironically, the director had lost faith in himself. Ironic in that faith is the very subject that fascinates this director when approaching storytelling.
Will Smith would describe After Earth as his most painful failure and there’s a reason that most people have tried to bury this movie from their minds, which falls just short of being the worst post apocalyptic sci-fi film of all-time.
No one can take Battlefield Earth off that mantle.
The much needed reprieve
Although his next move saw Shyalaman only serve as director for the pilot and serve as Executive Producer, the choice was an important step in his career.
By turning his attention to a different medium, (a tv series), Shyalaman would be able to realign himself once more.
Take stock and arguably bring him back into contention as an auteur once more.
This could very well be the turning point that Shyalaman was searching for in his climb back into the realms of success again.
On face value it struck me as just another found footage horror, with the protagonists played by sibling kids, Becca and and Tyler (Olivia De Jonge and Ed Oxenbould who both deserve high recognition for their performances in this) who go to stay with Nana and Pop-Pop, grandparents they’ve never seen before, which automatically sent signals off for me.
The plot line is a little clumsy in places as Shyamalan stumbles his way through telling a story on new-found confidence, albeit a little shakily.
There is another strength in the tale though to allow Shyalaman to stride forward in his tale, as the right ingredients are in place to propel the story forward with fear and trepidation combined with a genuine care factor for the central characters involved.
My only niggle was the slight arrogance from Shyalaman from the role of Becca.
She speaks intelligently enough but it just dips slightly into the level of annoyance and too many scars are on display still from Shyalaman’s previous outings.
This aside, it plays along nicely enough with a reward that doesn’t feel forced.
It’s a strong sign of things to come.
The return to form?
By the time I came around to watching this the word was already out and the spoilers had hit the net.
The audience reaction was… divided and yet I intended to come into this film with an open mind.
The pace and build up was faultless and thrust the viewer headlong into the ordeal that the 3 kidnapped girls face.
James McAvoy is simply outstanding displaying so many diverse personalities, although we only ever see 8 of the 24 in the film.
Perhaps because this would have been too confusing and the audience would have been lost.
Maybe Shyalaman has learnt his lesson after all?
Also making an impact on the screen in films such as Morgan and The Witch is Anya Taylor-Joy who delivers another defining turn as one of the kidnapped girls, Cassie, who has her own skeleton in her closet which becomes integral to the closing scenes of the movie.
There are some moments that he action is a little scattered in places but overall Shyamalan delivers a solid movie with the promise of an Unbreakable / Split crossover in the near future.
This news has got fans salivating at this prospect but also has film lovers in a frothing frenzy of anger at the idea of another movie being released by the director.
Has Shyamalan burnt too many bridges in his audience trust?
Is he bouncing back from redemption? And does have what it takes to another another successful feature?
Love him or hate him, I’ve come to admire his appetite to keep challenging himself and delivering compelling stories.
Each story he produces takes him in a different direction and he seems fearless to take on his visions.
Yes he may not land with every punch, but there’s not many other directors out there in the mainstream that continue to offer something new to the scene and to produce conversation with every project that he overseas.
For good or Ill, I’m glad to see someone like Shyamalan still producing in the film industry.
And I’ll have to hang my hat on that unpopular statement.