The twists, when they come, are what will make or break the movie for lots of people. Superhero comics nearly always build to some sort of dramatic, no-holds-barred conclusion, and Glass is no different, driving each of its characters toward a final face-off, teased repeatedly by comics-obsessed Mr. Glass himself. "The collection of main characters," he drawls, when all of the main members of Glass's cast assemble to watch the final confrontation (or, as Mr. Glass would dub it, "the showdown"). Never a particularly subtle director, Shyamalan gives you all the clues you need to figure out most of his third-act twists, provided you know what you're looking for.
At a certain point during Glass's finale, I was reminded vividly of what is possibly the best scene in any modern superhero movie: In Sam Raimi's Spider-Man 2, after Peter Parker singlehandedly stops a train from barreling into an abyss, he faints. Like a wounded god, he's carried hand over hand by the passengers whose lives he just saved and placed on the floor of the train, where they all look upon his face before promising to keep his identity a secret. In Shyamalan's view, blockbuster studios (one of which Glass boldly name-drops mid-movie) have trained us to expect the epic and ignore the profound. But, as Casey reminds the characters of Glass at one point, when Superman was introduced to the world in Action Comics #1, he couldn't even fly. And yet, the world believed. It's never the sound and color and fight scenes and laser light shows that matter; it's what superheroes mean to a world who so desperately needs them.
In Unbreakable, Mr. Glass -- then known as Elijah Price -- was motivated by the idea that he could create superheroes, bringing Dunn's more-than-human traits to the surface. Now, in the conclusion of Shyamalan's Eastrail 117 Trilogy, Glass wants the world to see his handiwork. It's not enough for them to exist: The rest of the world needs to believe. "It's an origin story," Glass says firmly, while planning his pièce de résistance. It's unfortunate, perhaps even tragic, that the only way he can do this is by becoming the enemy, goading the heroes out of the shadows for the world to see, to prove that there is still something on this earth worth marveling at.