GAME NIGHT (12)
D: John Francis Daley & Jonathan Goldstein
Warner Bros/New Line/Access/Dune/Aggregate (John Davis, John Fox, James Garavante & Jason Bateman)
W: Mark Perez
DP: Barry Peterson
Ed: Jamie Gross, Gregory Plotkin & David Egan
Mus: Cliff Martinez
Jason Bateman (Max Davis), Rachel McAdams (Annie Davis), Kyle Chandler (Brooks Davis), Jesse Plemons (Gary Kingsbury), Billy Magnusson (Ryan Huddle), Sharon Horgan (Sarah Darcy), Lamorne Morris (Kevin Sterling), Kylie Bunbury (Michelle Sterling)
David Fincher's 1997 film The Game (qv) is given a comedy makeover, a la Date Night for this rather predictable, not particularly funny timekiller.
Jason Bateman & Rachel McAdams play idyllic suburban couple Max & Annie, who host weekly game nights. Max's successful brother Brooks attends one week and a sibling rivalry becomes apparent between the two. Brooks invites the group to his house for the next game night and they all accept.
On the evening, Brooks unveils the rules of the game - someone is going to be kidnapped and they will have to rescue them, on the way events will occur and the group will have no idea whether it's all part of the game or not. It's quite handy he got that last part in, as he is promptly kidnapped by bad guys and the evening gets underway. The "twist" is that it's a real kidnapping.
Though watchable and entertaining enough for its duration, the biggest problem of the film is that you can see the plot points and jokes coming from a mile off.
Rachel McAdams is delightfully kooky as the lead actress, but Jason Bateman can only play the same one-note character regardless of the movie, in which case he gets a bit lucky that it fits this one. The best performance of the movie belongs to Jesse Plemons as a creepy neighbour who gets expunged from the group of friends, it's the scenes featuring him which offer a couple of moments to raise a chuckle, but that's not really good enough for a comedy.
Unfortunately, Hollywood seems to be treading carefully with the genre nowadays because they don't want to offend people. Meh.
All in all, it's about as much fun as a game of Monopoly, and will probably culminate in less arguments.
GANGSTER SQUAD (15)
D: Ruben Fleischer
Warner Bros/Village Roadshow (Dan Lin, Kevin McCormick & Michael Tadross)
W: Will Beall [based on "Tales From The Gangster Squad" by Paul Lieberman]
DP: Dion Beebe
Ed: Alan Baumgarten & James Herbert
Mus: Steve Jablonsky
Josh Brolin (Sgt. John O'Mara), Ryan Gosling (Sgt. Jerry Wooters), Sean Penn (Mickey Cohen), Emma Stone (Grace Faraday), Nick Nolte (Chief Bill Parker), Anthony Mackie (Det. Coleman Harris), Giovanni Ribisi (Det. Conwell Keeler), Michael Peña (Det. Navidad Ramirez)
The Untouchables meets L.A. Confidential, but lacking panache in the script to make this truly memorable.
This fictionalised crime thriller pits a team of detectives out to take Los Angels mob boss Mickey Cohen down by hitting him where it hurts.
Attention to the period is given its dues, with excellent production design and costumes, but the story is a pale imitation of other, better films, even forcing in a boring romance between Ryan Gosling & Emma Stone's characters which doesn't seem to drive the story forward and doesn't really have much resolution. The most pointless thing about the film is the makeup for Sean Penn's Mickey Cohen, looking particularly amateurish for such a luxuriant production.
GARDEN STATE (12)
D: Zach Braff
Miramax/Fox Searchlight/Camelot/Jersey Films (Gary Gilbert, Dan Halsted, Pamela Abdy & Richard Klubeck)
W: Zach Braff
DP: Lawrence Sher
Ed: Myron Kerstein
Mus: Chad Fisher
Zach Braff (Andrew Largeman), Natalie Portman (Samantha), Peter Sarsgaard (Mark), Ian Holm (Gideon Largeman), Jean Smart (Carol)
With his popularity soaring due to the television sitcom Scrubs, Zach Braff wrote, directed and stars in this charming semi-autobiographical comic drama in his native New Jersey.
He plays a depressed Hollywood actor who returns home following the death of his mother and reunites with some friends and family for the first time since his departure and also finds time to embark on a romantic relationship with Samantha, who seems to be the only person about town who empathises with him.
Braff's script is reasonably well-written, with quirky characters and sharp dialogue, but the plot of the film is all quite sketchy, like a series of skits which don't quite all tie together particularly neatly. It's still worth a watch though.
THE GAY DIVORCEE (PG)
D: Mark Sandrich
RKO (Sandro S. Berman)
W: George Marion, Jr., Dorothy Yost & Edward Kaufman [based on the stage play "The Gay Divorce" by Dwight Taylor]
DP: David Abel
Ed: William Hamilton
Mus: Max Steiner
Fred Astaire (Guy Holden), Ginger Rogers (Mimi Glossop), Alice Brady (Aunt Hortense), Edward Everett Horton (Egbert 'Pinky' Fitzgerald), Erik Rhodes (Rodolfo Tonetti)
This film was Fred Astaire's and Ginger Rogers' first partnership for which they received top billing, reworking Dwight Taylor's stage musical 'The Gay Divorce' by composing a large collection of new songs and tweaking the title, since it would be improper in 1934 for a divorce itself to be deemed a happy occasion.
Astaire plays Guy Holden, a dancer who meets and becomes smitten by Mimi Glossop, an American woman who travels to an English seaside resort, seeking a divorce from her absentee husband.
Though much of the story, dialogue, mannerisms and musical numbers are dated, the film still carries a good amount of charm, humour and it's easy to see why Astaire & Rogers would go on to make several more films together.
Cole Porter's 'Night & Day' is probably the most famous song from the film (& stage play), while the 17-minute-long show stopper 'The Continental' became the first winner of the Best Original Song Oscar.
Conservative, quaint and ridiculously dated, but still very much enjoyable.
D: Henry Cornelius
GFD/Sirius (Henry Cornelius)
W: William Rose
DP: Christopher Challis
Ed: Clive Donner
Mus: Larry Adler
John Gregson (Alan McKim), Dinah Sheridan (Wendy McKim), Kenneth More (Ambrose Claverhouse), Kay Kendall (Rosalind Peters)
Classic British comedy in which two couples compete in the annual classic-car race from London to Brighton. The title comes from the name of the vehicle owned by Alan and Wendy McKim, who invite their friends Ambrose Claverhouse and Rosalind Peters to the friendly contest, which becomes increasingly competitive on the return journey to London.
Considering the age of the film, it's quite impressively well made, with sprightly performances from the ensemble and a memorable music score.
One of them bank holiday movies which will be a delight for some but might provoke others to go for a drive.
GENTLEMAN'S AGREEMENT (U)
D: Elia Kazan
20th Century Fox (Darryl F. Zanuck)
W: Moss Hart [based on the novel by Laura Z. Hobson]
DP: Arthur Miller
Ed: Harmon Jones
Mus: Alfred Newman
Gregory Peck (Philip Schuyler Green), Dorothy McGuire (Kathy Lacey), John Garfield (Dave Goldman), Celeste Holm (Anne Dettrey), Anne Revere (Mrs. Green), Albert Dekker (John Minify)
Though this 1947 Best Picture Oscar winner is quite dated in its execution, the message that it conveys is still very much relevant.
Journalist Philip Schuyler Green (Gregory Peck) moves to New York with his mother and son and is given the task of writing an article on anti-semitism. As a writer whose best work has come from experiencing things first hand, he feigns Jewish heritage to see how differently people treat him and gets deeply involved in his project, even to the point that it causes tensions amongst his family and a rift between himself and love interest Kathy Lacey (Dorothy McGuire).
At its heart, Gentleman's Agreement is a very powerful story, with some impressive performances from a solid ensemble cast. The love story feels a little forced, but one has to remember that it was from an era where almost every film had to include an element of romance. The story itself could possibly make a great modernisation, with a little bit of fine tweaking.
D: Dean Devlin
Warner Bros/Skydance (Dean Devlin, David Ellison & Dana Goldberg)
W: Dean Devlin & Paul Guyot
DP: Roberto Schaefer
Ed: Ron Rosen, Chris Lebenzon & John Refoua
Mus: Lorne Balfe
Gerard Butler (Jake Lawson), Jim Sturgess (Max Lawson), Abbie Cornish (Agent Sarah Wilson), Ed Harris (Leonard Dekkom), Andy Garcia (President Andrew Palma), Alexandra Maria Lara (Ute Fassbinder), Robert Sheehan (Duncan Taylor)
Preposterous mash up of Armageddon, 2012 and The Day After Tomorrow, directed by Dean Devlin, a producer of Roland Emmerich movies who felt he could just as good a job as his former colleague.
Gerard Butler plays the inventor of a satellite network, utilised for climate control, who is called into action when the programme malfunctions and adverse weather conditions cause disasters around the globe.
Meanwhile, his ambitious younger brother who he has a tetchy relationship with investigates a government conspiracy involving the president, since presidential scandals were incredibly topical in 2017.
Everything about this film is a mess, from the recycled plot to the unconvincing acting, shoddy visual effects and even a romance crammed in despite being completely ancillary to the plot.
It's quite possible to enjoy this film if you remove enough of your brain to engage any logic, but it still isn't a good movie.
GET OUT (15)
D: Jordan Peele
Universal/Blumhouse/Monkeypaw (Sean McKittrick, Jason Blum, Edward H. Hamm, Jr. & Jordan Peele)
W: Jordan Peele
DP: Toby Oliver
Ed: Gregory Plotkin
Mus: Michael Abels
Daniel Kaluuya (Chris Washington), Allison Williams (Rose Armitage), Bradley Whitford (Dean Armitage), Catherine Keener (Missy Armitage)
Guess Who's Coming To Dinner meets The Stepford Wives for this satirical horror movie from debutante director Jordan Peele.
Photographer Chris Washington reluctantly goes to his girlfriend's rural retreat for the weekend, asking before the trip if they're aware that he's black. Her nonchalant reply is that they're open-minded liberals who "would have voted Obama a third term if they could."
On his arrival, Chris finds the parents a tad inappropriate, but things become even more sinister when the mother of the family hypnotises him under the guise of helping him quit smoking.
As a modern spin on Ira Levin's The Stepford Wives, Get Out really does work quite well, and is certainly amongst the cleverer Hollywood horror movies released in recent times. As a satire of liberal racism, it really is an acquired taste. Some people will find it controversial, some people won't. The overall result is quite intelligent, but it really isn't as much as it wishes it was.
GET SMART (12)
D: Peter Segal
Warner Bros/Village Roadshow/Mosaic Media/Mad Chance/Atlas (Leonard B. Stern, Alex Gartner, Charles Roven, Andrew Lazar & Michael Ewing)
W: Tom J. Astle & Matt Ember [based on the television series created by Mel Brooks & Buck Henry]
DP: Dean Semler
Ed: Richard Pearson
Mus: Trevor Rabin
Steve Carell (Max Smart / Agent 86), Anne Hathaway (Agent 99), Dwayne Johnson (Agent 23), Alan Arkin (The Chief), Terence Stamp (Siegfried)
Taking its inspiration from a television series which ran from 1965-1970, this spy spoof stars Steve Carell as Max Smart, a government analyst who turns field agent when a potential terrorist attack rears its head.
Accompanying Smart on his mission is Agent 99 (Anne Hathaway), who also doubles up as a love interest as the plot thickens.
Overall, this is an enjoyable caper, though the comedy isn't consistent and it's clear that much of the dialogue was improvised and several scenes pieced together in the editing room, still it works due to the on-screen partnership of Carell and Hathaway, who do make a fine double act.
It isn't as smart as it could have been, but there are much worse ways to spend 110 minutes.
GHOST IN THE SHELL (12)
D: Rupert Sanders
Paramount/Dreamworks/Reliance (Avi Arad, Ari Arad, Steven Paul & Michael Costigan)
W: Jamie Moss, William Wheeler & Ehren Kruger [based on the graphic novel by Masamune Shirow]
DP: Jess Hall
Ed: Neil Smith & Billy Rich
Mus: Clint Mansell & Lorne Balfe
Scarlet Johansson (Major Mira Killian / Motoko Kusanagi), 'Beat' Takeshi Kitano (Chief Daisuke Aramaki), Michael Pitt (Kuze / Hideo), Pilou Asbæk (Batou), Juliette Binoche (Dr. Ouelet)
Based on a graphic novel which itself was made into a 1995 anime film (considered by many to be the best Manga movie of all time), this sci-fi action could almost be described as Frankenstein meets Blade Runner.
Set in a future where humans have robotic enhancements, Major Mira Killian becomes the first of her kind. A victim of a car accident, her brain is saved and placed in the body of a cyber-enhanced android soldier, owned by the government for the purposes of stopping the most dangerous criminals.
The film is very much style over substance, owing a rather large debt of gratitude to Blade Runner for its production design. Scarlet Johansson is very miscast in a role that really should have gone to an oriental actress and this was highlighted by the media and fans of the original source material.
The visual effects are decent and the music is particularly good, but it won't have much appeal to those who haven't seen or have no interest in the original film or comic book. Even those who are fans will prefer the 1990's version.
A GHOST STORY (12)
D: David Lowery
A24/Sailor Bear/Zero Trans Fat (Toby Halbrooks, James M. Johnston & Adam Donaghey)
W: David Lowery
DP: Andrew Palermo
Ed: David Lowery
Mus: Daniel Hart
Casey Affleck ('The Man'), Rooney Mara ('The Woman')
Ghost meets The Tree Of Life for this infuriatingly pretentious arthouse fantasy which might have worked much better as a short subject.
Casey Affleck plays an unnamed man who becomes a ghost (represented here by a bedsheet with eyeholes cut out) and remains in the house he shared with his unnamed wife and watches her carry on from beyond his grave.
It's possible that there will be an audience for this film, but for everyone else it will be a snorefest. The pacing is ridiculously slow to the point that there are long lingering shots where no dialogue is spoken and nothing of note happens. Like all arthouse films, it's polarising, and although I didn't enjoy it, nor would I recommend it to others, I do appreciate that there is a market for films like this.
"GHOSTBUSTERS" (GHOSTBUSTERS: ANSWER THE CALL) (12)
D: Paul Feig
Sony/Columbia/Village Roadshow (Ivan Reitman & Amy Pascal)
🇺🇸 🇦🇺 2016
W: Paul Feig & Kate Dippold [based on "Ghostbusters" by Dan Aykroyd & Harold Ramis]
DP: Robert Yeoman
Ed: Brent White & Melissa Bretherton
Mus: Theodore Shapiro
Melissa McCarthy (Dr. Abby Yates), Kristen Wiig (Dr. Erin Gilbert), Kate McKinnon (Dr. Jillian Holtzmann), Leslie Jones (Patty Tolan), Chris Hemsworth (Kevin Beckman), Andy Garcia (Mayor Bradley), Charles Dance (Harold Filmore)
I have so little respect for this film, I won't even be publicising it with a poster or its trailer (which quite fittingly and deservedly received a record amount of dislikes on YouTube). The reason I have so little respect for this film is because it itself and everyone involved in it seems to have so little respect for the original 1984 film, which still holds up after 30 years and didn't need to be remade. This isn't just the corporate greed of Hollywood at work though, this is virtue-signalling in the worst possible way. The media have been pushing the myth that there aren't enough strong characters for women in the movies, so they decided to take a 1980's classic, still adored by millions for a gender switch.
The trouble is, 1984's Ghostbusters was hilarious, the humour in this remake is so pathetically unfunny it resorts to fart jokes and ladyparts humour. Excuse my while I sew my sides back up.
The original film also had a sly dig at bureaucracy, with the film's main villain being a smarmy suit from the Environmental Protection Agency. The villain in this is ALL men. Everywhere. Because men are scum. Seriously, all the men in this film are painted as chickenshit, dumb or simply evil for the sake of being evil.
The market demographic for this movie is clearly Buzzfeed readers, which is fine, but if you're gonna remake stuff, leave the fucking classics alone. This isn't about feminism, or misogyny, it's about leaving our childhoods the fuck alone... and it doesn't wash that "the original film is still there to be enjoyed", when a remake tries to deny all existence of said original film. I may have been onboard with this had these female characters been daughters/nieces of the original members, but it's actually asking us to ignore that the original 1984 film happened. Fuck off!
It's worth noting that this is the only film on my website to score less than zero out of ten.
D: Vincente Minnelli
MGM (Arthur Freed)
W: Alan Jay Lerner [based on the novella by Colette]
DP: Joseph Ruttenberg
Ed: Adrianne Fazan
Mus: Andre Previn; Frederick Loewe & Alan Jay Lerner
PD: Cecil Beaton
Cos: Cecil Beaton
Leslie Caron (Gigi), Louis Jourdan (Gaston Lachaille), Maurice Chevalier (Honore Lachaille), Hermione Gingold (Madame Alvarez)
A classic it may we'll be, but it's no My Fair Lady. Set in Paris at the turn of the 20th Century, a young beautiful woman is trained by her aunt to be a woman of high society.
The story practically apes George Bernard Shaw's Pygmalion, but with a French twist. Maurice Chevalier doing what he does best, while the demure Leslie Caron lights up the screen whenever she appears on it.
The songs are all wonderful, the sets are lavish, the costumes are beautiful and the cinematography makes it look a lot fresher than 60 years old. It will have its fans, who will doubtless adore every second of it, but if you don't like musicals it really won't have a lot of appeal.
D: Charles Vidor
Columbia (Virginia Van Upp)
W: Marion Parsonnet
DP: Rudolph Mate
Ed: Charles Nelson
Mus: Hugo Friedhofer
PD: Stephen Goosson & Van Nest Polglase
Cos: Jean Louis
Rita Hayworth (Gilda Mundson), Glenn Ford (Johnny Farrell), George Macready (Ballin Mundson), Joseph Calleia (Obregon), Steven Geray (Uncle Pio)
Classic film-noir, perhaps given even more immortality by its homage in The Shawshank Redemption, although it's Rita Hayworth's scintillating performance which holds up better than the 1940's dialogue.
Glenn Ford gives one of his finest performances as the male lead, Johnny Farrell, a gambler who starts working for a casino owner in South America and makes the startling discovery that his old flame, Gilda, is now married to his dangerous new boss.
The beautiful Gilda, quite enjoys playing her games with her two love interests, as well as the audience, as her mere appearance lights up every scene she's in, particularly her smoking hot introduction, which has become an iconic cinema moment in itself.
The plot is clearly trying to emulate Casablanca, which is where it finds its shortcomings, and though some of the elements feel bound to the period, it still has to be considered a golden age classic of the genre.
THE GIRL WITH ALL THE GIFTS (18)
D: Colm McCarthy
Warner Bros/Altitude/BFI/Poison Chef (Will Clarke, Camille Gatin & Angus Lamont)
W: Mike Carey [based on his novel]
DP: Simon Dennis
Ed: Matthew Cannings
Mus: Cristobal Tapia de Veer
Gemma Arterton (Helen Justineau), Sennia Nenua (Melanie), Paddy Considine (Sgt. Eddie Parks), Glenn Close (Dr. Caroline Caldwell)
The Girl With All The Gifts is a film which would be best appreciated if you know as little about the plot as possible, so to review the film with as little reveal as possible may be a challenge.
This adaptation of Mike Carey's novel breathes fresh life into a horror sub-genre which has quickly become stale with so much over-saturation with films and television shows over the past decade.
Set in a post-apocalyptic Britain, a group of young children are kept under strict military control at a subterranean complex, while a team of doctors seek a cure for the plague which ravages the outside world.
After a security breach, a small group of survivors escape with their lives and try to find other human survivors, unaware that their world is serious peril of dying altogether.
Character-driven and with a very intelligent twist, The Girl With All The Gifts is easily the most impressive British horror film since 2002's 28 Days Later, with a solid performance from juvenile actress Sennia Nunua who provokes both sympathy and fear of and for her ailment. Gemma Arterton also delivers her finest acting performance as well.
Recommended, especially to fans of horror who aren't necessarily expecting this type of horror.
THE GIRL WHO KICKED THE HORNETS' NEST (LUFTSLOTTET SOM SPRÄNGDES) (18)
D: Daniel Alfredson
Zodiak/Nordisk (Soren Stærmose & Jon Mankell)
🇸🇪 2009 (released 2010)
W: Ulf Rydberg & Jonas Frykberg [based on the novel by Steig Larsson]
DP: Peter Mokrosinski
Ed: Mattias Morheden
Mus: Jacob Groth
Noomi Rapace (Lisbeth Salander), Michael Nykvist (Mikael Blomkvist), Lena Endre (Erika Berger), Annika Hallin (Annika Giannini)
A rather disappointing conclusion to the Millennium trilogy, culminating as courtroom drama as expert hacker Lisbeth Salander faces trial for crimes against the state for her actions in the first two segments of the trilogy (The Girl With The Dragon Tattoo & The Girl Who Played With Fire).
It's unfortunate that the second instalment to the trilogy was less memorable than the first and the opening to this movie is choppily edited and doesn't trigger memories of prior events, instead just placing you right in the middle of the story and getting on with it.
The acting and production values are all fine and it wouldn't be fair to call it a poor movie, it just really helps if you watch all three films in quick succession, rather than wait for an indeterminate length of time.
GIRLS TRIP (15)
D: Malcolm D. Lee
Universal/Perfect World (Malcolm D. Lee & Will Packer)
W: Kenya Barris & Tracy Oliver
DP: Greg Gardiner
Ed: Paul Millspaugh
Mus: David Newman
Regina Hall (Ryan Pierce), Queen Latifah (Sasha Franklin), Jada Pinkett Smith (Lisa Cooper), Tiffany Haddish (Dina), Larenz Tate (Julian Stevens), Mike Colter (Stewart Pierce), Kate Walsh (Elizabeth Davelli)
If Bridesmaids (qv) was the female version of The Hangover (qv), then Girls Trip (no apostrophe) is the African-American equivalent. Unfortunately, it's not very funny, unless you fall into the very limited target group at which it's marketed.
I'm very much outside of this demographic, so can only review it from my own perspective, but the majority of jokes revolve around the main cast being A: Female and B: Black. Side-splitting. The remaining jokes appear to be either about how big cocks can be or similar puerile, infantile female-variants of fart humour. The story even has a bit of time to rant about cultural misappropriation as though the producers took a backhander from Buzzfeed.
When Jada Pinkett Smith threw her childish tantrum before the 88th Academy Awards and demanded that Hollywood studios make more films that appease her, is this really what she meant?
The funniest thing about Girls Trip is that there's a campaign for it to be recognised at the Oscars. Bitch, please!!
D: M. Night Shyamalan
Universal/Blinding Edge/Blumhouse (M. Night Shyamalan, Jason Blum, Marc Bienstock & Ashwin Rajan)
USA 🇺🇸 2019
W: M. Night Shyamalan
DP: Mike Gioulakis
Ed: Luke Ciarrocchi & Blu Murray
Mus: West Dylan Thordson
James McAvoy (Kevin Wendell Crumb / The Horde), Bruce Willis (David Dunn / The Overseer), Samuel L. Jackson (Elijah Price / Mr. Glass), Sarah Paulson (Dr. Ellie Stapler), Anya Taylor-Joy (Casey Cooke), Spencer Treat Clark (Joseph Dunn)
A sequel to both Unbreakable (2000) and Split (2016), both of which were also directed by M. Night Shyamalan and considered amongst the filmmaker's best works.
It's imperative to have seen both preceding movies and it's impossible to review this movie without spoilers for them.
In the closing moments of Split, it was hinted that it took place in the same cinematic universe as Unbreakable, thus giving birth to this sequel which takes place an unspecified amount of time after that movie ended. James McAvoy's schizophrenic Kevin Wendell Crumb and his horde of multiple personalities is still at large in the city of Philadelphia, and still abducting teenage girls to satisfy a bloodlust of The Beast, one of his multiple personalities that doesn't identify as human. Meanwhile, Bruce Willis' David Dunn is avenging vigilante justice in the city, dubbed The Overseer by the public, and is dedicated to hunting down the schizophrenic serial killer with the help of his son from their family-run security business.
The two men meet in an early skirmish and are both subsequently arrested and put under the care of Dr. Ellie Stapler at a psychiatric hospital, where she attempts to explain their phenomena with practicalities and science. Another patient at the hospital is Elijah Price / Mr. Glass, Samuel L. Jackson's character from Unbreakable, who plans to manipulate the arrival of the two new residents for his own means.
While the film gives another stage for McAvoy to showcase his excellent acting talents and wide range as he becomes the multiple personalities while incarcerated, Jackson isn't really given much to do except act cunning and Bruce Willis pretty much spends the entire movie moping in the background.
Unfortunately, the film concludes with an underwhelming climax right out of the left field which some may consider a twist, but I think it's more a giant middle finger to those who invested nearly 6 hours into the story and characters. Understandably, Shyamalan is a filmmaker who likes to play tricks with the audience and plot twists have very much become part of his repertoire, but the route he decided to go down with this was an insulting cop out.
Glass, for me, was amongst the most anticipated films of 2019, but unfortunately, it was a massive disappointment.
This glass is definitely half-empty.