Samiam3
Joined Jun 2008
Welcome to the new profile
We're still working on updating some profile features. To see the badges, ratings breakdowns, and polls for this profile, please go to the previous version.
Reviews726
Samiam3's rating
When the Visit came out, it seemed like Shyamalan was coming out of rock bottom. With Split, he shows a continuum of that momentum. However, unlike the Visit, this is not an entertaining movie.
Split is the story (actually to call it a story is being a bit generous) of Kevin Crumb, a man with 24 personalities. In the opening scene, he highjacks a car, and kidnaps three girls. They are kept in a locked room, in what looks like a renovated heritage building. Every now and then the door opens and the girls get a visit from one of Kevin's, alter egos. The movie intercuts between the girls escape attempts and Kevin's session with his doctor.
The fundamental problem with Split is that there is really no story to tell. It feels like an isolated chapter of a larger narrative, and indeed it is, (tying in to Unbreakable and the follow up movie Glass). The editing is erratic, including flashbacks into the life of the principle heroine, whom the movie is not about. On top of that, the whole catalyst of the plot. (the kidnapping) is never coherently explained.
The movie is at its most compelling in the smaller scenes, such as when the camera is on McAvoy and his doctor. We see a character who is paradoxically fighting to keep his secrets yet at the same time to reveal them.
In the end, Split is watchable because of McAvoy. As he ping pongs between his personalities and emotions, he creates a 'poly-character' that is simultaneously whimsical, and frightening, even sympathetic at times. The personalities are self aware that they exist to 'protect' their host. Whether or not this is an accurate picture of a mental condition is sometimes questionable. The line between mental ability and supernatural is raised in a rather expository (and obviously fore shadowing) scene midway through the picture. The 24th personality of 'The Beast' (yet to be seen) keeps getting mentioned in conversation, which unfortunately is the movies only dramatic momentum. It leads to a rather cliched horror film climax, in underground tunnels, with the heroine's clothes getting progressively shredded (another cliche).
In the end Split is a mediocre movie about a fascinating character.
Split is the story (actually to call it a story is being a bit generous) of Kevin Crumb, a man with 24 personalities. In the opening scene, he highjacks a car, and kidnaps three girls. They are kept in a locked room, in what looks like a renovated heritage building. Every now and then the door opens and the girls get a visit from one of Kevin's, alter egos. The movie intercuts between the girls escape attempts and Kevin's session with his doctor.
The fundamental problem with Split is that there is really no story to tell. It feels like an isolated chapter of a larger narrative, and indeed it is, (tying in to Unbreakable and the follow up movie Glass). The editing is erratic, including flashbacks into the life of the principle heroine, whom the movie is not about. On top of that, the whole catalyst of the plot. (the kidnapping) is never coherently explained.
The movie is at its most compelling in the smaller scenes, such as when the camera is on McAvoy and his doctor. We see a character who is paradoxically fighting to keep his secrets yet at the same time to reveal them.
In the end, Split is watchable because of McAvoy. As he ping pongs between his personalities and emotions, he creates a 'poly-character' that is simultaneously whimsical, and frightening, even sympathetic at times. The personalities are self aware that they exist to 'protect' their host. Whether or not this is an accurate picture of a mental condition is sometimes questionable. The line between mental ability and supernatural is raised in a rather expository (and obviously fore shadowing) scene midway through the picture. The 24th personality of 'The Beast' (yet to be seen) keeps getting mentioned in conversation, which unfortunately is the movies only dramatic momentum. It leads to a rather cliched horror film climax, in underground tunnels, with the heroine's clothes getting progressively shredded (another cliche).
In the end Split is a mediocre movie about a fascinating character.
Air Force One is what you get when you put Executive Decision and Die Hard in a blender and hit mix. The product would taste better if it had more of Executive Decision's subtlety and Die Hard's suspense.
Harrison Ford is the president fighting to re take the Air Force One 747 from the hands of Russian terrorists led by Gary Oldman. There are 50 hostages on board, including the first lady and daughter, who (of course) end up with a priority seat away from the others next to Oldman on the flight deck. I might add that this particular flight deck has so many colourful switchboards and avionics that you would swear you were on a spacecraft. This is one of many examples of the way that Air Force One is too distracting to get emerged in. Another example is the blaring and overwhelmingly brassy score which never seems to let up. Then there is Gary Oldman as the terrorist leader, who does less with an entire molonogue than David Suchet (Executive Decision) was able to do with a single glare.
As for Harrison Ford, He seems to do better as the president than as an action hero. He gives a good banquet speech early in the movie, but once he is forced to pick up a machine gun, he seems so rusty and poorly coordinated. His character is a former marine and 'Nam veteran, so says one member of his cabinet to another, (purely for the audiences sake). Based on his performance, you'd think otherwise. Doesn't he know that it's dangerous to engage or institute open fire with machine guns in a pressurized plane at 30,000 feet. the fact that the bad guys do it is always forgivable, because they are supposed to be idiots.
When the good guys win the day, everyone in the White House erupts into an unconvincing unprofessional mass of cheers as if it were superbowl night, accompanied by a comically unneeded swirling camera. And then the movie is pretty much over.
The punchline: America always wins
Harrison Ford is the president fighting to re take the Air Force One 747 from the hands of Russian terrorists led by Gary Oldman. There are 50 hostages on board, including the first lady and daughter, who (of course) end up with a priority seat away from the others next to Oldman on the flight deck. I might add that this particular flight deck has so many colourful switchboards and avionics that you would swear you were on a spacecraft. This is one of many examples of the way that Air Force One is too distracting to get emerged in. Another example is the blaring and overwhelmingly brassy score which never seems to let up. Then there is Gary Oldman as the terrorist leader, who does less with an entire molonogue than David Suchet (Executive Decision) was able to do with a single glare.
As for Harrison Ford, He seems to do better as the president than as an action hero. He gives a good banquet speech early in the movie, but once he is forced to pick up a machine gun, he seems so rusty and poorly coordinated. His character is a former marine and 'Nam veteran, so says one member of his cabinet to another, (purely for the audiences sake). Based on his performance, you'd think otherwise. Doesn't he know that it's dangerous to engage or institute open fire with machine guns in a pressurized plane at 30,000 feet. the fact that the bad guys do it is always forgivable, because they are supposed to be idiots.
When the good guys win the day, everyone in the White House erupts into an unconvincing unprofessional mass of cheers as if it were superbowl night, accompanied by a comically unneeded swirling camera. And then the movie is pretty much over.
The punchline: America always wins
A significant step up from the mail-in that was The Force Awakens, The Last Jedi (for a start) does not feel the urge to jump into lightspeed with back-to-back action sequences that are as predicable as they were visually incomprehensible.
In the Last Jedi, introspective comes before candy. that seems to be the attitude, of the movie, but Rian Johnson's script is not quite up to the task. the problem is, that the film has inhered the duty of answering the questions of what has become of Luke Skywalker, and Johnson doesn't really seem to give a damn.
Instead of Mark Hamil embedding Skywalker, the character embodies the actor; a grumpy crone, who has given up on his career, and more intent to go out with a whimper than a bang ....some hero. For a series that was always contrived as escapism with a few lessons in reality, this failed characterized leans a little too close to reality. Almost two decades into the 21st century, there are lots of boomers like Skywalker with a poor attitude.
Rey seems to be coming into her own as a character. The most interesting scenes in the movie are the telepathic conversations between her and Kai Lo Ten, who by the the end of the movie steals it. Somehow she can sense the good or 'conflict' in him, and attempts to give him the same routine that Luke gave his father in the climax of episode xi. Her charisma is beginning to blossom, which is remarkable considering she has little emotional motivation of her own. As Ren points out at one later, "you have no place in this story". The extension of that line which probably got edited out is; "you are here simply to pander to a contemporary gen y audience."
the rest of the cast, (which is where the action happens) is an unfortunate afterthought. A potential love interest emerges for Finn, and the two of them endure events that amount to a wasted subplot, including a 'horseback' chase scene through a Riviera style casino that is very cartoony. that whole scene feels like an opportunity for the developers of the next lego video game.
The best thing the the movie has going for it, is that it never feels like it's in a hurry to get to the punchline. It makes you want to listen, but you may not be satisfied with what you hear.
In the Last Jedi, introspective comes before candy. that seems to be the attitude, of the movie, but Rian Johnson's script is not quite up to the task. the problem is, that the film has inhered the duty of answering the questions of what has become of Luke Skywalker, and Johnson doesn't really seem to give a damn.
Instead of Mark Hamil embedding Skywalker, the character embodies the actor; a grumpy crone, who has given up on his career, and more intent to go out with a whimper than a bang ....some hero. For a series that was always contrived as escapism with a few lessons in reality, this failed characterized leans a little too close to reality. Almost two decades into the 21st century, there are lots of boomers like Skywalker with a poor attitude.
Rey seems to be coming into her own as a character. The most interesting scenes in the movie are the telepathic conversations between her and Kai Lo Ten, who by the the end of the movie steals it. Somehow she can sense the good or 'conflict' in him, and attempts to give him the same routine that Luke gave his father in the climax of episode xi. Her charisma is beginning to blossom, which is remarkable considering she has little emotional motivation of her own. As Ren points out at one later, "you have no place in this story". The extension of that line which probably got edited out is; "you are here simply to pander to a contemporary gen y audience."
the rest of the cast, (which is where the action happens) is an unfortunate afterthought. A potential love interest emerges for Finn, and the two of them endure events that amount to a wasted subplot, including a 'horseback' chase scene through a Riviera style casino that is very cartoony. that whole scene feels like an opportunity for the developers of the next lego video game.
The best thing the the movie has going for it, is that it never feels like it's in a hurry to get to the punchline. It makes you want to listen, but you may not be satisfied with what you hear.