Ο Άφθαρτος

Matt Singer4.0

So thematically on point most of the shots of Bruce Willis are long unbroken takes.

SilentDawn5.0

100Watching this for the umpteenth viewing, I couldn't help but focus on how every scene, set-up, narrative development, choice of color and mood and music, feels fresh. Even the most rudimentary moments are captured by M. Night Shyamalan's determination of form. Just take a look at the opening, with the birth of Mr. Glass, as Shyamalan captures the disorientation and confusion with the help of two mirrors and a floaty handheld long-take. Following that, the camera moving back and forth between the space of two seats on the train, or the durational tension of David Dunn waking up after the accident, with a fellow passenger slowly dying in the foreground. And that's just the beginning. By the time we get to that close-up of Audrey being carried up the stairs by David, I'm levitating off the couch. Shyamalan's rigorous commitment to the antithesis of superhero convention results in a masterwork that is aging quite gracefully. A story of baptism, rejuvenation, and self-discovery. "Tell me something, David. When you woke up this morning... Was it still there? The sadness?"

Taylor Williams5.0

I love how uninterested this film is in keeping its symbolism subliminal. Shoot Glass through glass in every scene, give the everyday superhero an everyday uniform with a big SECURITY logo on the back, make it a poncho to block water after establishing his weakness as water, compose your shot like a comic panel and deliver a line like “life doesn’t have to fit into little boxes that were drawn for it” before moving the camera in a way that becomes a fundamentally cinematic language. “This one has a surprise ending!”“The thing to notice about this piece, the thing that makes it very, very special, is its realistic depiction of its figures.”What else is there to say? Such raw pining for fulfillment here from everyone, sold on every conceivable level.