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Behold The 2018 Oscar Nominations, And Embrace The Most Unpredictable Oscar Race In Years

For the first time in recent memory, I have no idea what will win Best Picture. And that’s good!

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If you spend as much time reading about film on the internet as I do (which, come on, you do), you would know just how much time and attention is spent on predicting the Oscars every year. Deserved or not, they are a big deal in the field, both within the industry and in covering the industry, and much is made ever Fall season in trying to predict them. Usually, it’s an easy thing — the Best Picture frontrunner arrives months in advance, and tends to dominate all the other awards (PGA, WGA, SAG, Golden Globes, etc.) in its lead up to winning the big prize.

But, last year, something change. The Oscar frontrunner, La La Land, failed to win the big prize (and did so in a pretty memorable way, in fact.) Instead, underdog Moonlight won, which was as shocking as it was deserved (even for someone like me, who had La La Land as his number one film of 2016 — that film didn’t need any more awards to secure its legacy.) But giving Moonlight the big prize proved that the new Oscars (which underwent a massive membership change a few years ago after #OscarsSoWhite) would be far less predictable than in the past. And this year’s Oscar season has certainly proved that to be true.

It’s been a wild one for sure, with so much division amongst the big awards and critics circles in who gets the big prize. The Golden Globes gave Three Billboards Outside Ebbing Missouri its Best Picture prize…but being the Golden Globes, gave its OTHER Best Picture prize to Lady Bird, an equally worthy contender. The Producers Guild gave its Top Prize to The Shape of Water, who also has a chance simply due to Guillermo del Toro’s Directing win at the Globes. And then there’s Get Out, which is the clear audience favorite.

In recent weeks Three Billboards has gained momentum as a frontrunner, but I don’t think its lead over the others is as substantial as you might think. The film has its fair share of (I would argue unfair) backlash, and it’s very likely that it could end up the La La Land of this year’s Oscar race. But if it becomes La La Land, what the hell becomes Moonlight? I literally have no idea, which more than anything speaks to how strong a year it has been for film. Pretty much all the nominees (announced earlier today) are deserving of the big prizes, and though some categories are easier to predict than others, I think we’ll still be in for some surprises come Oscar night. Which, by all means, I approve of. Unpredictability can be fun, no?

But, for now, at least the nominations are set in stone. Below is the complete list of 2018 Oscar nominations, alongside some commentary for the bigger awards:


Best Picture

Call Me By Your Name
Darkest Hour
Dunkirk
Get Out
Lady Bird
Phantom Thread
The Post
The Shape of Water
Three Billboards Outside Ebbing, Missouri

Commentary: Come on Academy, you have 10 available slots! You couldn’t have thrown The Big Sick or The Florida Project in there? I don’t know why they unofficially decided nine nominees was the way to go (it’s been that way for a few years now), but it bugs the crap out of me. Go big or go home, Oscars!


BEST DIRECTOR:

Paul Thomas Anderson, Phantom Thread
Greta Gerwig, Lady Bird
Guillermo del Toro, The Shape of Water
Christopher Nolan, Dunkirk
Jordan Peele, Get Out

Commentary: No complaints here! Nice to see Paul Thomas Anderson squeeze in for the Phantom Thread, though it did take down Spielberg’s spot for The Post. Only so much room, unfortunately. And nice to see the Oscars correct the Golden Globes egregious mistake and give Greta Gerwig her due for Lady Bird.


ACTOR IN A LEADING ROLE:

Timothée Chalamet, Call Me by Your Name
Daniel Day-Lewis, Phantom Thread
Daniel Kaluuya, Get Out
Gary Oldman, Darkest Hour
Denzel Washington, Roman J. Israel, Esq.

Commentary: Washington clearly subbed in for James Franco here — otherwise, I can’t see how something as forgettable as Roman J. Israel, Esq. could land an Oscar nom. Should have been Jake Gyllenhaal for Stronger, IMO.

ACTRESS IN A LEADING ROLE:

Sally Hawkins, The Shape of Water
Frances McDormand, Three Billboards Outside Ebbing, Missouri
Margot Robbie, I, Tonya
Saoirse Ronan, Lady Bird
Meryl Streep, The Post

Commentary: This was the most locked category for a while now, with no real surprises here. But all five are fantastic, so no complaints here.


ACTOR IN A SUPPORTING ROLE:

Willem Dafoe, The Florida Project
Woody Harrelson, Three Billboards Outside Ebbing, Missouri
Richard Jenkins, The Shape of Water
Christopher Plummer, All the Money in the World
Sam Rockwell, Three Billboards Outside Ebbing, Missouri

COMMENTARY: Excited about Richard Jenkins getting in (he’s incredible in The Shape of Water), but disappointed that Michael Stuhlbarg couldn’t get SOMETHING. And though it was the longest of long shots, Patrick Stewart REALLY deserved a nom for Logan, in a perfect and just world.


ACTRESS IN A SUPPORTING ROLE:

Mary J. Blige, Mudbound
Allison Janney, I, Tonya
Lesley Manville, Phantom Thread
Laurie Metcalf, Lady Bird
Octavia Spencer, The Shape of Water

COMMENTARY: A few surprises here, including Mary J. Blige in Mudbound, Lesley Manville in Phantom Thread (which overall performed much better than I thought it would at the awards), and Octavia Spencer in The Shape of Water. All deserving I suppose, although it sucks that it pushed Helen Hunt out of the race. She was so damn good in The Big Sick.

Best Writing (Adapted Screenplay):

Call Me By Your Name
The Disaster Artist
Logan
Molly’s Game
Mudbound

Commentary: Overall, a solid list. It was kind of a light year for Adapted Screenplay (surprisingly), but some good stuff here. LOVED Logan scoring a nod, because at least it got SOMETHING. Shame Blade Runner 2049 couldn’t shove in here too, though.


Best Writing (Original Screenplay)

The Big Sick
Get Out
Lady Bird
The Shape of Water
Three Billboards Outside Ebbing, Missouri

Commentary: No beef here with any of these. And at least The Big Sick got a screenplay nod, even though it was pushed out of Best Picture. :/


Best Animated Feature:

The Boss Baby
The Breadwinner
Coco
Ferdinand
Loving Vincent

Commentary: THE BOSS BABY?? THE FREAKING BOSS BABY? Shameful, Academy, especially because The Lego Batman Movie absolutely deserved the nod. What is with the Oscars and their hatred of the Lego movie franchise? They must be a MegaBlocks organization.

Best Cinematography:

Blade Runner 2049
Darkest Hour
Dunkirk
Mudbound
The Shape of Water

COMMENTARY: YEAH, GO DEAKINS. FINALLY GIVE THIS MAN AN OSCAR FOR THE MOST BEAUTIFUL FILM OF 2017, ACADEMY. C’MOOOOOOON.


Best Film Editing:

Baby Driver
Dunkirk
I, Tonya
The Shape of Water
Three Billboards Outside Ebbing, Missouri

Commentary: Sweet to see Baby Driver here, because man is the editing in that film wonderful. But this is Dunkirk’s Oscar to lose, and I would argue deserves the prize with its hands tied behind its back.


Best Visual Effects:

Blade Runner 2049
Guardians of the Galaxy Vol. 2
Kong: Skull Island
Star Wars: The Last Jedi
War for the Planet of the Apes

Commentary: Oh man, I am so torn on this one between Blade Runner 2049 and War for the Planet of the Apes. Both look absolutely amazing, but my gut says the Academy will give it to Blade Runner. We will see, though.

Best Original Score:

Dunkirk
Phantom Thread
The Shape of Water
Star Wars: The Last Jedi
Three Billboards Outside Ebbing, Missouri

Commentary: Overall a great assortment of scores. I would have loved for Giacchino to get something for his incredible work in War for the Planet of the Apes, but other than that can’t complain. The fact all of them conceivably have a chance to win is telling.


And here’s the rest of the categories, which I have no particular comments on.

Best Foreign Language Film:

A Fantastic Woman (Chile)
The Insult, Ziad Doueiri (Lebanon)
Loveless, Andrey Zvyagintsev (Russia)
On Body and Soul (Hungary)
The Square (Sweden)

Best Documentary Feature:

Abacus: Small Enough to Jail
Faces Places
Icarus
Strong Island
Last Men in Aleppo

Best Production Design:

Beauty and the Beast
Blade Runner 2049
Darkest Hour
Dunkirk
The Shape of Water

Best Costume Design:

Beauty and the Beast
Darkest Hour
Phantom Thread
The Shape of Water
Victoria and Abdul

Best Make-Up and Hairstyling:

Darkest Hour
Victoria and Abdul
Wonder

Best Original Song:

“Mighty River,” Mudbound
“Mystery of Love,” Call Me By Your Name
“Remember Me,” Coco
“Stand Up for Something,” Marshall
“This Is Me,” The Greatest Showman

Best Sound Mixing:

Baby Driver
Blade Runner 2049
Dunkirk
The Shape of Water
Star Wars: The Last Jedi

Best Sound Editing:

Baby Driver
Blade Runner 2049
Dunkirk
The Shape of Water
Star Wars: The Last Jedi

Best Short Film (Live-Action):

Dekalb Elementary
The Eleven O’Clock
My Nephew Emmett
The Silent Child
Watu Wote/All of Us

Best Short Film (Animated):

Dear Basketball
Garden Party
Lou
Negative Space
Revolting Rhymes

Best Documentary (Short Subject)

Edith+Eddie
Heaven is a Traffic Jam on the 405
Heroin(e)
Knife Skills
Traffic Stop

The 90th Annual Academy Awards airs on ABC on March 4.


Also published on Medium.

Matthew Legarreta is the Editor and Owner of Freshly Popped Culture. A big ol' ball of movie, TV, and video game loving flesh, Matthew has been writing about pop culture for nearly a decade. Matthew also loves writing about himself in the third person, because it makes him feel important (or something.)

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Feel Free To Take The Rest of The Day Off, The John Wick: Chapter 3 Trailer Is Here

The national holiday known as John Wick Trailer Day begins…now.

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I love movie trailers. I know for some they find the mere act of watching a movie trailer a “spoiler” for what is to come in the final film, and look, I get it. Sometimes, there are moments and things I see in a trailer that, when I watch the full movie, I wish I could have taken back seeing. But, for me, there’s something so magical about the trailer watching experience that I can’t throw away the art form entirely. And though you might bristle at my definition of trailer making as an “art form”…eh, you’re wrong. There is a beauty to a well produced, well edited trailer, and the best ones are examples of the power that come with the form. Yes, they’re marketing, and yes, they’re sometimes scattershot, thrown together bores. But the good ones? Watching those come hand in hand with watching movies, at least from my perspective.

All of which is a long preamble to me saying that, on Youtube, I have a private little playlist of trailers for movies, TV, and video games that I absolutely LOVE. Trailers that I return to again and again and again, just because the craft that went into them is so staggering. One of those trailers is this first one for John Wick: Chapter 2, which was my first indication that “Woah, this one is going to be something special.” And it very much was! But even outside the general kickassery of that sequel, the trailer was and is absolutely delightful. So coming into today’s big release of the John Wick: Chapter 3 trailer, I had some very high hopes. Would — and could — this trailer manage to match the quantified hype levels that the Chapter 2 teaser put out?

Honestly, no, not quite. But the first trailer for Chapter 2 didn’t show us a FREAKING KATANA MOTORCYCLE CHASE/FIGHT, so it rather evens out, don’t you think?

And not being as masterful as the first Chapter 2 trailer ≠ being bad. In fact, from a purely technical and academic level, this trailer would probably best be described as something that, fundamentally, “fucks to the max.” You got the aforementioned motorcycle chase, which indeed fucks hard. You got the much teased “Keanu on a horse” action, which indubitably fucks. You got John Wick murdering people with a book, which of course fucks, how could you even question such at thing. And you got Halle Berry and her attack dogs joining in on all the fun, which in this franchise of course, is murdering people. Sounds like Trailer Fucks Bingo, if you ask me.

And what the trailer does so well (and what I hope the film will do well too) is amp up the tension, to an insane degree. Ending the second film on that huge cliffhanger was a brilliant move, as seeing Wick prepare in the “one hour head start” he has to get the hell out of New York before literally every hitman around comes to assassinate him makes for a heck of a sequel pitch. And the trailer plays around with that deliciously, racketing up the tension in the first half to deliver the true fireworks in the second. Set to a remixed version of the crooner tune “The Impossible Dream” by Andy Williams, it doesn’t quite reach the heights of the operatic, pulse pounding remix of Vivaldi’s “Four Seasons” used in the Chapter 2 trailer, but it still makes for an interesting, exciting contrast.

John Wick: Chapter 3 Trailer

And everything else about this trailer is classic John Wick greatness, from the many, MANY creative kills (seriously, that book thing) to the surprisingly crisp, exciting photography brought to life by cinematographer Dan Laustsen. Lausten took an already pretty presentation from the original John Wick and made it flat our gorgeous, and that sense of visual beauty is all over this trailer. I love action movies that take the time to actually look good, and John Wick is one of the few franchises committed to having that kind of aesthetic. In addition to the mayhem, carnage, and wacky-ass world building, of course.

Anywho, this is a great trailer, but it does little to change my overall excitement for the film — after all, it’s hard to go much farther than “PUMP THIS SHIT IN MY VEINS NOW,” right?

John Wick: Chapter 3Parabellum (yes, this one has a subtitle, to the annoyance of SEO managers everywhere) hits theaters on May 19. And even if the first trailer is a smidge below the one for John Wick: Chapter 2, the astounding first two posters released for the film more than make up for it. BRB, clearing wall space.

“John Wick (Keanu Reeves) is on the run for two reasons… he’s being hunted for a global $14 million dollar open contract on his life, and for breaking a central rule: taking a life on Continental Hotel grounds. The victim was a member of the High Table who ordered the open contract. John should have already been executed, except the Continental’s manager, Winston, has given him a one-hour grace period before he’s “Excommunicado” – membership revoked, banned from all services and cut off from other members. John uses the service industry to stay alive as he fights and kills his way out of New York City.”


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God Damn It, Sony is Back On That Ghostbusters 3 Shit Again

“I am so freaking tired writing about Ghostbusters sequels.” – Me, in the year like Two-Thousand-God-Damn-Twelve

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I thought we were passed this, you guys. I really, truly did.

After nearly a decade of writing stuff about Ghostbusters 3, I thought the release of Paul Feig’s Ghostbusters reboot (maybe subtitled Answer the Call? I don’t fucking know) signified the end of an era. All the in-fighting, fanboy hyperbole, acute sexism, accusations of sexism, controversies, cameo wrangling, and nostalgia baiting all led up to 2016’s Ghostbusters — and it all fizzled like a recently used Muon Trap. The reboot got mixed-positive reception from critics, but absolutely bombed at the box office, grossing a paltry $229 million worldwide off a budget of $144 million. After literally decades of build-up, I thought this was how the saga ended: a middling-to-bad reboot that would end up being forgotten to time, in a franchise that likely wouldn’t see the light of day for decades to come.

Oh, but don’t underestimate the folks at Sony Pictures! Apparently it only took them two years to turnaround from the failure of 2016’s Ghostbusters, wipe their hands on their jeans, and get back to work on revitalizing the series. So in a move that I can’t imagine anyone in the year of our lord 2019 asked for, we’re getting another Ghostbusters movie, completely divorced from everything set up from the last one. So another reboot, essentially!

But, no, that would be inaccurate. Because this project will be a sequel of sorts…a sequel to the original two Ghostbusters, that is. In what should have been clear from the start, but inexplicably wasn’t for the team behind 2016’s reboot, these “thirty years later” revitalizations are incredibly popular nowadays. From The Force Awakens to Creed, every series that was once popular decades ago is now being revitalized, with a younger cast indeed “rebooting” the series, but the old guard sticking around to serve as a continuation, rather than a rehash, of what came before. It’s like having your cake and eating it too: the studio gets their “new” franchise off the back of an old one, but you respect and excite fans by showing more of what they loved the first time. It’s a win-win and, quite honestly, I think the quality of these legacyquels (as Matt Singer so brilliantly coined) has been better than the standard reboot/remakes we were getting for a while there.

By going this route, franchise films can at least make a statement about their own impact, or their place in the pop culture cannon, which is a lot more than standards reboots usually do. Those end up just saying the same exact story over again, trying to tap into the magic of seeing it for the first time, but absolutely failing to do so. You know, like how the 2016 Ghostbusters did. As much as one group might like to bitch and moan about how casting women ruined everything, it wasn’t the genitals of the cast that took down Ghostbusters, and it’s absolutely insane I have to write something like that in the first place. It was the uninspired, meandering, and ultimately forgettable way Ghostbusters tried to cash in on its predecessor’s clout that ultimately did it in.

But let’s make like Sony, and forget that whole movie ever even happened: a new Ghostbusters is coming, whether you like it or not. And if you think this is just in the planning stages, or something Sony rattled off as a potential project during an investor’s meeting, think again. Because, slightly burying the lede here (that you probably read everywhere else, so forgive me for assuming you already know) is the fact this project is coming from none other than Jason Reitman, the filmmaker behind Tully, Juno, and the like. He’s also the son of franchise director Ivan Reitman which, y’know, I’m sure is totally unrelated.

Anywho, he has been working on it in secret for a while now alongside Monster House writer Gil Kenan, and the project is already set to begin shooting by the end of the year for a Summer 2020 release. Still don’t believe me? Just take a look at the already released teaser for the film, reportedly done by Reitman himself, and brandishing the “Summer 2020” release in plain sight. This one’s coming folks, and coming fast.

Now just in case you needed reminding, this one DEFINITELY takes place in the original continuity — you hear that Elmer Bernstein score? Oh yeah, buddy, that’s OG shit right there. And on the surface, yeah, it’s pretty cool to ape that aesthetic. And Jason Reitman is a strong director, even if this one seems like a very strange fit for him (his films are funny, sure, but not out-and-out comedies: his sensibilities are more Sofia Coppola than Judd Apatow). But I just can’t get excited about this thing, not in a way I might have back in 2012 or whatever. After years and years of talk about further Ghostbuster films, only to get the subpar 2016 reboot, I’ve rather soured on this franchise. Unless the pitch is really strong, and the actors involved (all teenagers, from what’s been reported) are interesting, I just can’t get enthused about the prospects of Ghostbusters 3: Here We Fuckin’ Go Again.

Even worse will be the discourse around it, and the shit that stained the last one floating back up to the surface. Another round of talking about whether or not the original movie is good (it is.) Another round talking about whether Ghostbusters 2 is bad (it is, very.) Another round of needless appreciation for Paul Feig’s tepid reboot. Another round of MRA asshats whipping their dicks out and complaining about how only men can shoot imaginary beams out of imaginary packs while capturing imaginary beings in an imaginary story. Another round of well-meaning but overbearing people, in kind, giving more credit than necessary to a movie that frankly doesn’t deserve it. And another round of me whining about the discourse, whilst doing absolutely nothing to divorce myself from it.

It’s all just…so…tiring.

Ghostbusters 3

Like Bill Murray in another, non-Ghostbusters movie (that actually is a lot better than Ghostbusters if you think about it), I can’t help but feel I am stuck in an endless loop writing about this thing. Ten years from now? I’ll be writing about Ghostbusters 3. Twenty years from now? Ghostbusters 3. Thirty years from now? I won’t be writing about anything, what with the collapse of all life on the planet and what not. But the last thing I write before I fight in the water wars, or engage in vehicular combat for gasoline, or — most likely — drown in the rising sea levels?

Fucking Ghostbusters 3, man.


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The Crushing, Existential Sadness of The Disappointing Glass Reviews

R.I.P. Shyamalanassaince: September 2015 – January 2019.

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I am eternally fascinated by the career of M. Night Shyamalan. After bursting on the scene with The Sixth Sense nearly 20 years ago, the man went on to gain an incredibly rare status amongst his directing brethren: actual name recognition! He’s one of the few directors who many people outside Film Twitter can name — up there with Spielberg, Scorsese, and Tarantino. But unlike those other directors, Shyamalan’s brand can probably be described more as “infamous” than famous, especially in recent years. The man went from the New Spielberg to a laughing stock…literally.

And well his fall from grace is, in some accord, deserved (his movies post Signs are all dire to varying degrees), I still can’t help but feel pretty bad for the guy. He went from being a huge up-and-coming talent, the next big thing in the world of Hollywood, to an absolute joke amongst critics, audiences, and his peers. It’s the classic Hollywood rise-and-fall, played out in slow motion over a twenty year period. But right when all things seemed over for Shyamalan, and he delivered for the first time something Hollywood would not allow (a legitimate box office bomb in the form of After Earth), Shyamalan attempted what few failed artists can surmount: an honest-to-goodness comeback.

And it wasn’t a sudden comeback either: Shyamalan spent years revitalizing his public image, first doing so with the surprisingly solid The Visit back in 2015. It was a return to low-budget roots for the director, and its nature as a sort of pallet cleanser for the director was very much apparent. It was a movie he seemed obliged to make to get even an ounce of his creative juices flowing again, and it turned out to be a pretty fun little comedy/horror movie to boot.

After some decent television work developing and directing Wayward Pines, Shyamalan came roaring back to life with another low budget delight, 2017’s Split. It was a film that was thrilling, funny, well crafted, and genuinely exciting. Basically, it was something we hadn’t seen from the man in damn near 15 years, and audiences took notice. On the backing of a bravado post credit scene, linking the film to his previous cult classic Unbreakable, response to the movie was incredibly promising. And remember that whole thing about Shyamalan’s Hollywood clout running out because he made a bomb? Well, Split, off a $9 million budget, made $238 million — making it a massive, massive hit. A good movie AND a hugely successful one? Yup, Shyamalan was back, and as a huge fan of his first three features, I couldn’t have been happier for him.

Now we stand a mere five days away from the release of Glass, Shyamalan’s newest feature. As a sequel to his current hit Split, and one of his past hits, Unbreakable, it serves as pretty much a crescendo for the entire man’s career. One of those “everything has been leading up to this” moments those voiceover guys are always talking about in the commercial. Glass was — had to be — the thing that solidified the Shyamalanassaince.

…And he whiffed it. Goddamn it, he fucking whiffed it.

Glass Reviews

That’s at least according to the first reviews for the film, which were released Wednesday following the lift of the film’s press embargo. To say they were incredibly mixed is an understatement. Here’s just a sampling of some of the notable ones:

‘Glass’ Review: M. Night Shyamalan’s Grounded Superhero Movie Is the Biggest Disappointment of His Career

Glass’ tries and fails to shatter the comic book movie formula

M. Night Shyamalan’s Glass is half-empty and deeply unsatisfying

M. Night Shyamalan’s Long-Awaited ‘Glass’ Is A Bewildering Misfire

‘GLASS’ REVIEW: M. NIGHT SHYAMALAN BREAKS HIS CLEVEREST FRANCHISE

I don’t say this often because I’m not a character in an early 90’s sitcom, but…ouch-a-rooney. Those are not pretty reviews, and are a direct return back to the critical dragging that was unleashed upon films like Lady in the Water, The Happening, and The Last Airbender. And though it would be easy to cry “Well, the critics are wrong!” here (as people on the internet often do, bafflingly)…they weren’t wrong with those last three. They were all terrible. And with Shyamalan’s track record, I’m unfortunately going to have to take the critic’s side here: by all accounts, Glass is an excruciating disappointment. And, man…what a fucking bummer.

Of course, I have yet to see film myself (I’m not special like all those other film journalists), and I remain somewhat hopeful I’ll come out on the positive side of things. But, at this point, it’s undeniable that this whole thing has put a massive dent in the pent up anticipation for the film. Since Split, it’s been a solid two years of anticipation from Shyamalan apologists like myself: we finally got the sequel we spent a decade asking for and, even better, it came in a way that seemed unique, fresh, and necessary. It wasn’t just a last ditch effort for Shyamalan to gain some clout back from his former fans. He did the work, guys! But like a drug addict who was on the op-and-up, only to suffer an insurmountable relapse, Shyamalan has fallen once more. He was supposed to be our Timothee Chalamat — our Beautiful Boy. And now we’re all very, very sad Steve Carrell.

Because, on a personal note? This has massively curbed my enthusiasm for Glass which, up until this point, was pretty sky high. I really had faith in the movie — naively, I admit — and my hype was frankly off the charts for it. I’m currently in the process of writing up my list of most anticipated films of 2019 (yeah, yeah, I’m late, whatever), and let’s just say Glass had a very high ranking amongst that list. Emphasis on the had — as much as I want to see the film still, I just can’t get excited for it like I was before the negative reviews. And I doubt I’m the only one either; this really puts a damper on the pre-release hype, as you would expect.

On my planned path to MAXIMUM HYPE, I just got done re-watching Unbreakable in the lead up of Glass‘s release. And guess what? That movie still fucking rocks. It’s slow and contemplative and weird, but it manages to engross me with every single frame. And just seeing it again made me slightly more optimistic for Glass, if anything to see these characters again. But in the back of my mind, that voice was still being cautious: “it’s going to be a disappointment. It’s very bad, apparently. DON’T. GET. EXCITED.” That voice is probably right…but also a fucking buzzkill.

This image has an empty alt attribute; its file name is Glass-Bruce-Willis.jpg

And the saddest thing of all, to me, is that it seemed no one really saw it coming. Usually when a film is going to be poorly received by critics, press releases are held very close to the film’s opening weekend. You don’t want bad word-of-mouth to sour the launch, so you cut off as many people from seeing it as you possibly can. And yet, Glass screened almost two weeks earlier for critics: usually, a sign that the people involved imagined that it would be, at the very least, tolerated. Hell, when I first saw Film Twitter commenting about the press screenings, I got exciting, thinking that Universal and Shyamalan probably imagined the film was going to get great reception, and wanted to ride that buzz into the film’s launch. I mean, you wouldn’t set up a series marathon across the country a week before the film’s domestic release if you didn’t have faith people would respond well to it…right?

That’s my thinking at least, which leads to a pretty depressing conclusion: the poor response is blindsiding everyone involved. They screened the movie early because, generally, they thought that people were going to end up liking it. The fact that a majority didn’t (and, even worse, some outright despised it) probably came as something of a sneak attack. And for a director whose probably experienced that experience MANY times in his career (for better or worse, Shyamalan seemed to buy into his own hype there pretty bad for a while), for it to happen to him again right on the cusp of his grand return is probably the harshest sting of all. Or in Simpson meme:

There’s a reason why so many movies are about underdogs: everybody loves them. To see a character rise up from the bottom and make it to the top is one of the most common — yet satisfying — forms of storytelling. Even more satisfying is the “comeback kid,” someone who manages to rise from the bottom, fall from the top, and rise up yet again. It’s inspiring to know that, despite our failures, we can still succeed — and we love to see that narrative play out. But this is no movie: this is real life, and things don’t always turn out as we want them to in real life. Rocky gets knocked out in the first round. The Slumdog Millionaire beefs it on Question #1. Daniel-San gets his ass handed to him instantly. And M. Night Shyamalan makes yet another bad movie. For as much as the characters in his movies might be Unbreakable, M. Night Shyamalan sure as hell isn’t.


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