Female Film Critics 24/375
The tiresome sequel “The Hitman’s Wife’s Bodyguard” wastes its star power as cavalierly as its aggressively unlikeable characters waste ammunition. It takes an almost impressive feat of sheer mediocrity to make a movie starring Ryan Reynolds, Samuel L. Jackson, Salma Hayek, Antonio Banderas and Morgan Freeman this annoying.
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The Banker powerfully presents 1950s racism. In this truth-based narrative, blatant racism is, refreshingly, never sugar coated, always directly addressed, and leads to a question put to to the US Senate. “Why is it so important to you to exclude an entire race of people from the American dream?”
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John Shaft’s no-nonsense, street-style of fighting crime, coupled with JJ’s (aka John Shaft, Jr) millennial political-correctness, cyber smarts and sensitive consideration for the humanity in others makes for an interesting and dynamic storyline that is sure to create nostalgia for the original Shaft films, while instilling a newfound respect for the Shaft franchise in current millennial audiences.
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If you haven’t seen M. Night Shyamalan’s two previous films – Unbreakable (2000) and Split (2017) – you may be a little lost because this conclusion to his trilogy brings together the main characters from both films.
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With the help of arbitrary deadlines, handy coincidences and characters explaining comic book tropes, Shyamalan attempts a series of elaborate plot twists – of course – that he doesn’t quite pull off cleanly but that are still pretty nifty and unveil some interesting surprises. Herculean performances by McAvoy, Willis and Jackson keep “Glass” watchable even when the narrative gets murky.
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Instead of trusting their characters and script — and trusting that the audience would pick up on the emotional undercurrents
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