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Entries in Glass (2)

Sunday
Jan202019

What did you see this weekend?

Weekend Box Office Estimates
January 18th-20th (ESTIMATES)
🔺 = New or Expanded Theater Count /  = Recommended
W I D E
800+ screens
PLATFORM / LIMITED
excluding prev. wide
1. 🔺 Glass $40.5 on 3841 screens *NEW* Review
1.🔺 Stan & Ollie $391k on 84 screens
(cum. $789k) Review ★ 
2. The Upside  $15.6 on 3320 screens  (cum. $43.9)
2. 🔺 Cold War $355k on 39 screens (cum. $748k)  ReviewPodcastOscar FINALIST  
3. 🔺 Dragon Ball Super: Broly  $10.6 on 1233 screens (cum. $21) *NEW* 
3. Free Solo  $264k on 98 screens (cum. $13.1) Review  
4. Aquaman  $10.3 on 3475 screens (cum. $304.3)  ReviewPodcast
4. Perfect Strangers  $185k on 132 screens (cum. $737k)
3. Into the Spider-Verse  $7.2 on 2712 screens (cum. $158.2)  Review 
5.🔺 Destroyer $150k on 50 screens (cum. $636k)  ReviewFYC Best Actress 

 

Other than the big openings for M Night Shyamalan's Glass and the anime film Dragon Ball Super: Broly the story of the weekend was surely Cold War jumping up 264% percent. If it gets an Oscar nomination (or two? three?) on Tuesday its timing for a significant expansion (provided that that's next weekend) will be perfect.  

What did you see this weekend?  I spent the weekend announcing Film Bitch Awards so that was movie-madness enough for me. Instead I hit Broadway to see Choir Boy from Moonlight writer Tarrel Alvin McCraney. Recommended.

Thursday
Jan172019

Review: "Glass"

by Chris Feil

M. Night Shyamalan’s Glass is a film that has been a long time coming, clamored for in some circles ever since Unbreakable’s mystery box unleashed a superhero origin story unlike any other. Two years ago, Split arrived after hopes had diminished and reignited interest by announcing itself as belonging to the same story in a quintessentially Shyamalanian twist. Here we come full circle with Bruce Willis’ train crash-surviving vigilante David Dunn and the nemesis that birthed him, Samuel L. Jackson’s Elijah Pierce, AKA Mr. Glass.

Trouble is: Shyamalan is now a vastly different filmmaker today than when this saga began. What was once enigmatic and fuss free about the director’s approach to superheroes has given way to tedium and the mundane. Perhaps the spark is gone because these kinds of stories have gone from a fascination to foundational in the near twenty years since David boarded that fateful train. But no - that pop cultural shift is where Shyamalan fully distracts himself here, spinning the story’s tires into a lot of leaden world-building and thesis-making.

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