In the handful of scenes he appears in, Willis makes his indifference painfully obvious with a performance so lackadaisical that it’s actually a distraction. Worse yet, we get the impression he thinks he’s doing everyone a favor just by showing up. Instead, his appearance is a sad reminder that Midnight in the Switchgrass is little more than derivative video fodder. Sorry, Bruce, but I’ve lost all faith in you.
The idea of the incriminating bullet in Madison’s thigh is an original idea in itself. The concept of corrupt agents and the one-location idea, where the victim has to fight for her life, can’t be called very creative.
Glass picks up right where Split left us. Bruce Willis’ David Dunn in pursuit of James McAvoy’s Kevin Wendall Crumb better known as The Horde. Soon events bring the two under the care of a Psychiatrist Dr. Ellie Staple (like at the center of comic books?…) played by Sarah Paulson. Kept under heavy guard as well as lock and key, Dr. Staple is convinced that they and many others suffer from a delusion that they are superheroes right out of a comic book. She is a specialist in such areas. We learn that she has been treating Samuel L. Jackson’s Elijah Price, the Title bearing Mr. Glass, sometime during his incarceration for his actions in Unbreakable. She is here to help! She seeks to cure them of this infirmary.
Death Wish may not be another cultural milestone, but it is a lot of vicious, violent fun. And if nothing else, the film is a hell of a lot better than the godawful sequels Bronson finished his career with.
Kersey’s introduction into the darker world reminded me of Marvel’s Luke Cage introduction to his neighbourhood and the attention he was grabbing, even down to the hooded zipper as his disguise.
It’s not ambitious enough to get me to hate it, it was just one of those “it was what it was” take it at face value and enjoy.