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28th December 2000
Unbreakable 12 cert camera


Dir: M Night Shyamalan
Cast:
Bruce Willis, Robin Wright Penn, Samuel L Jackson, Spencer Treat Clark
Length: 107 minutes
Release:
29th December 2000

Unbreakable
entertainment block
Is this the latest issue of the Radio Times?
A slow burner of a movie which asks the question "why are we here?" and the lengths some people will go to to find the answer.

How do you follow a movie smash like The Sixth Sense ? It's a bit like the pop group trying to better their best selling debut album. Nine times out of ten you'll fail and the likelihood is Unbreakable will never quite repeat director Shyamalan's first feature outing.

Unbreakable
Alright then we won't talk to each other

Like the pop industry, Shyamalan attempts to stick to a winning formula. Many of the features of this film are similar to his first, not least the twist in the tale at the end. But that doesn't make Unbreakable bad.

It's moody, a real slow pot-boiler in which the two central characters, Willis and Jackson, search to discover why they've been put on earth.

Willis plays college security guard David Dunn who's marriage is on the verge of collapse. That's why he's been to New York for a job and why he finds himself on an express train which crashes, killing everyone on board except himself.

Unbreakable
Hey, it's Christmas, I should be in a Die Hard movie

That alerts comic-book collector Elijah Price (Jackson). Since birth he's suffered from a rare disease which causes his bones to fracture with the slightest knock. He was nicknamed Mr. Glass.

Price believes that since he is so fragile there must be someone at the other end of the spectrum, someone who is unbreakable.

He's been studying disasters for several years, looking for his very own superhero. When David Dunn survives the train crash, Price makes contact and an uneasy friendship develops.

Unbreakable
I don't care who you are. No ticket, no S Club 7 gig

Shyamalan uses the camera to convey the central characters journey of self-discovery. From the moment we see David Dunn on the ill-fated train the camera pans constantly from left to right and back again.

He's also a fan of upside down shots, reinforcing the idea of looking at the world from a different perspective.

There's little new in these devices but together (with the exception of a slack period two-thirds through the movie when it seems to be running out of steam) they help build a tension is sustained to the final credits.

4/5

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