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Underrated: Unbreakable (2000)


“This is an art gallery, my friend, and this is a piece of art.”

Superhero movies, and movies inspired by comic books, are legion. Marvel just announced they’ve got a plan laid out to make movies long after your grandkids have locked you away in a nursing home on the moon, and this weekend, Captain America: The Winter Soldier will make a bazillion dollars. It’s commonplace now to expect several superhero movies a year. But in 2000, that wasn’t the case. Superhero films were a riskier property then. Batman & Robin had come out in 1997, and the Batman franchise wouldn’t recover for another 8 years.

It was with some risk that M. Night Shyamalan made Unbreakable, which was a superhero movie that took superheroes and comic books seriously, back when such an idea was considered ludicrous. Shyamalan had two things working in his favor:

1. He was coming fresh off of The Sixth Sense, which was a massive hit and launched him into superstardom (remember those days?!).

2. The film was not marketed as a “superhero” movie.

The trailers for Unbreakable were purposefully vague. All we knew was that the film looked moody, it featured both the director and star of The Sixth Sense, and it involved a man who miraculously survived a train wreck without a scratch on him.

I remember seeing the film with friends, excited for whatever was about to happen. Then an opening text started talking about comic books and comic book collectors. The person sitting next to me leaned over and said, incredulously, “Is this about comic books?” I shrugged.

Unbreakable isn’t really about comic books or superheroes; what it’s about is the idea that there are real people out there who inspire such creations. David Dunn (Bruce Willis) is a man in a bit of a stupor. His marriage to his wife Audrey (Robin Wright) is falling apart, and he long ago gave up a football career after an auto accident. He works as a security guard, is somewhat distant with his son (Spencer Treat Clark), and pretty much looks miserable all of the time.


While traveling home from a job interview, the train David is on derails. All 131 people on board the train are killed—except David. And not only does he survive, but he survives without any injuries at all. This seemingly impossible (even miraculous) event jars David from his walking stupor, and he’s even more intrigued when he finds a note left on his car windshield asking him if he’s ever been sick. Thinking back, David realizes that in fact he hasn’t. Not once, in his entire life, has he ever gotten a cold or the flu or even a runny nose.

David seeks out the man who left him the note, Elijah, played by Samuel L. Jackson back before he started phoning in all his performances and yelling a lot. We’ve seen through flashbacks that Elijah suffers from osteogenesis imperfecta, a disease that causes his bones to break very easily. He is on the complete opposite end of the spectrum from David; David is seemingly UNBREAKABLE (that’s a titular line!) whereas Elijah has spent a good portion of his life recovering from illnesses. And he’s used his recovery time to become a comic book expert, studying comics from his hospital bed. He even runs a rare comic book art museum, where he angrily kicks out people coming in to buy things for their kids.

When David meets with Elijah, Elijah explains his philosophy that comic books have some basis in real life. “I’ve come to believe that comics are our last link to the ancient way of passing history,” he tells David. “The Egyptians drew pictures on walls…countries all around the world still pass on knowledge through pictorial forms. I believe that comics…have a truth. They are depicting what someone, somewhere felt or experienced.” And Elijah says he’s also wondered that if there’s someone like himself in the world—someone BREAKABLE (whoa!) — perhaps there’s someone the complete opposite, someone who was put on this planet to protect us.

David thinks this is a bunch of malarky, and understandably so. But it isn’t long before David is testing his “powers,” and discovering that Elijah may be on to something. Not only is David impervious to harm — he also has super strength and powers of extra-sensory perception; he can touch someone and see the “bad deeds” the person has done.


As David hones his skills and powers, he begins to find his place in the world. He becomes a real hero, his marriage is on the mend, and everything seems pretty great for David Dunn, or Rain Slicker Man, as the papers call him (not really). But, this being a M. Night Shyamalan movie, there has to be a twist ending. Shyamalan even has a huge wink to himself early in a flashback scene with Elijah and his mother, where she, describing a comic book, says, “I HEAR THIS ONE HAS A TWIST ENDING!” It’s easy these days to laugh at Shyamalan and his overdone twist ending routine, but keep in mind this was only the second time he’d done it. And I actually think the twist works, because it’s not a cheat; it’s actually hinted at all through the film.

David goes to thank Elijah for helping him discover his true purpose, and Elijah reveals the truth: that he was the one who caused David’s train to crash. And not just that—he also was responsible for several other “accidents,” which have led to hundreds of deaths. Elijah committed all these horrible acts to draw David out, because if David is a superhero, Elijah realizes his own place in the world is to be a super villain. Had the film just ended with this twist, and with David looking stunned and horrified, the film would work 100%. Unfortunately, Shyamalan throws in a weird caption at the end explaining that David turned Elijah over to the police; it’s jarring and, frankly, stupid. This isn’t an episode of Law & Order, nor is it based on a true story; we didn’t need a text wrap-up telling us what happened.

Unbreakable is not often brought up these days. It’s easy to see why; it is, after all, a M. Night Shyamalan film, and we all know he’s a total joke now. But in his early career, before fame went to his head, the man had real talent. Unbreakable is, in my humble opinion, Shyamalan’s best film. It’s more assured than The Sixth Sense, and it’s directed with a more skillful eye (and that’s no knock against The Sixth Sense, which is also very well directed; this film just surpasses it). Willis’ performance is colder in this film than in The Sixth Sense, but it’s also one of his best. Willis can actually be a pretty great actor when he’s not sleepwalking through endless Die Hard sequels. Early in the film, when he delivers this line, it’s heartbreaking: “Did you know that this morning was the first morning I can remember that I didn’t open my eyes and feel…sadness?” You can feel that misery in Willis’ line-delivery, that overwhelming sense of not knowing his place in the world.


Jackson’s performance is equally great. The man has turned into a bit of a parody of himself, but when he’s on, he’s really on (see Django Unchained for a recent example). Jackson’s Elijah is just as unsure of his place in the world as Willis’ character, but there’s a harder edge to the character that perfectly sets up his villainous nature at the end. And even when Jackson reveals that he is David’s arch nemesis (he even has a villainous nickname; the kids growing up called him Mr. Glass!), there’s a sorrow present. Elijah feels bad being David’s villain, but he submits to the idea that that is his purpose in the world. After all, Elijah could’ve easily gotten away with being the bad guy; he chooses to get caught by taking off his glove and letting David shake his hand, thus enabling David’s extra-sensory powers to sense all of the horrible stuff Elijah has done.

Shyamalan’s script takes time for great little character moments. Robin Wright’s Audrey could’ve easily just shrunk into the background as “the wife,” but there’s actual depth to her character. There’s a sweet and sad little scene in which David takes Audrey out on a date, as they try to rekindle their marriage, and the characters try to pinpoint a specific moment at which they realized their marriage was fading. You can tell Audrey still loves David; she just doesn’t love the sad sack he’s become, drifting through life with a permanent mopey look on his face.


Christopher Nolan often gets credit for finally taking comic books (Batman, specifically) “seriously.” This is understandable, especially after the neon-lit monstrosity the Bat-franchise had become. But five years before, in 2000, M. Night Shyamalan used his newfound clout to take a risk and make a movie that didn’t treat superheroes and comic books as kid stuff but rather as a link to passing history. We can laugh all we want at his new, terrible movies, but we should be kinder to this film. It’s underrated.



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Chris Evangelista is the Executive Editor of Cut Print Film & co-host of the Cut Print Film Podcast. He also contributes to /Film, The Film Stage, Birth.Movies.Death, The Playlist, Paste Magazine, Little White Lies and O-Scope Musings. 'The House on Creep Street' and 'Beware the Monstrous Manther!', two horror books for young readers Chris co-authored with J. Tonzelli, are available wherever books are sold. You can follow him on Twitter @cevangelista413 and view his portfolio at chrisevangelista.net

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  • Spiderman (2002) and X-Men (2000) weren’t serious enough for you?

    • Chris Evangelista

      This movie came out in 2000, which is two years before Spiderman and the same year as X-Men, so I would say at the time this film was released, “serious” comic book movies were the exception, not the rule.

  • A big fuck yeah to this article.

  • A big ‘fuck yeah’ to this article.

  • Mike

    Excellent article. All true. Nothing more I can add. ; p

  • Bill Gates

    Rumor has it that Unbreakable was to be the ‘origin story’ of a trilogy. If only…

  • Soy

    This was also the last good MNS movie.

  • Fantastic article, great work! I love The Sixth Sense (and a lot of Signs too), but Unbreakable was always my favorite Shyamalan film.

    There’s a rumor Shyamalan included that extra wrap-up text at the very end because Unbreakable was supposed to be the first part of a trilogy, but when it seemed like the sequels weren’t going to happen, he figured he’d just wrap up the story with some last-minute text at the end. But I’m not sure how true it is. Either way, I absolutely agree that it’s unnecessary.

    • Chris Evangelista

      I’ve heard that rumor; it’s too bad he never went through with the sequels, it would’ve been interesting to see where he would’ve taken the characters. And thanks for reading.

  • Archer Bond

    David survives the train crash unscathed, and realizes he has never been sick in his whole life.

    But his football career ended because of an auto accident??

    • Chris Evangelista

      It’s revealed in the film that he actually was not injured in the accident; in a flashback, he emerges from the car unscathed. Instead, he faked being injured to end his career because this is what his wife (then girlfriend) wanted.

      • Archer Bond

        Ah ok, thank you. I was like, PLOT HOLE MUCH? Rock on.

      • BillG

        You’d also think that working out and training for a football career would have unlocked his super strength perhaps even his extra-perception. In any case, you don’t dwell on these when watching the film. This is in my collection of movies, one of my favourites.

  • Stuart

    IMO, the end where Elijah is taken away by the police is in fact a double plot twist. We start out thinking this is a mid-life crisis movie, then it’s a super hero movie, then bam, it’s a mid-life crisis movie because when bad people commit mass murder, the police show up and take them away. Standing there and looking shocked is not how a real person would react. A real person calls the cops.

    • Chris Evangelista

      That is true; but I remember reading the original filmed ending of the film had David walking stunned out onto a crowded street, not sure how to deal with the situation. I personally think this would’ve been a better ending.

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  • Loved the post. I linked to it from within my own post that praises Unbreakable, but for not making the villain the same as the hero. My post and link back here at http://martynkelly.com/lifeblog/why-half-of-superhero-movies-are-boring/

    • Chris Evangelista


  • I wholeheartedly agree with this article. Unbreakable deconstructs the super hero mythology in a way that is so much more “real” than any other popular superhero movie, even Nolan’s dark Batman trilogy. It plays like a drama where the powers serve the narrative, rather than the powers dictating the narrative. A while back I edited a trailer for Unbreakable more in line with Shyamalan’s original intention for the marketing, where the comic/super hero aspect is more clear: https://www.youtube.com/watch?v=WSQBghWtA64. Not sure if it’s a “better” trailer for the film, but it was an interesting experiment.

  • Blade did it first.

    • hary

      this. Blade came out in 1998

      • Blade is a shitty movie.

        SPAWN came out in 1997… I think that is a serious contender.

      • Chris Evangelista

        Blade was a fairly serious movie, but it didn’t exactly set the world on fire, box-office wise; and its sequel didn’t come out till 2002–four years later. That’s not to say Blade is bad, it just wasn’t very popular. I’m not claiming Unbreakable was the FIRST serious superhero movie; I’m saying that at the time it was released, serious superhero movies were not as common as they are now.

      • Jeff Rollins

        Let’s split it right down the middle and just agree that “Darkman” is the first film to take comic books seriously. Exhibit A: http://youtu.be/lbdeAhpIPhE

  • ehehem SPAWN

  • King S.

    Blade did pretty well considering it was a rated R movie starring an African American. It knocked off Saving Private Ryan for the number one spot it’s opening weekend and pulled in $70,087,718 doubling it’s budget.

  • A.Dude

    I really enjoyed this movie the first time I watched it, and I had heard beforehand that it was supposed to be the first of a trilogy (but didn’t know whether or not the others would be made).

    I could’ve sworn that the version I watched did not have a crappy text wrap-up at the end… I remember BW walking out and SLJ yelling after him about being Mr Glass, and that’s how I thought it ended. After reading the above, I am positive this was a much better ending 🙂

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  • Jack McGoffrey

    I read the studio insisted on the caption.

  • Great review, thanks. A minor correction : Elijah did not take off his glove to reveal himself to David, he clearly shook his hand with his glove on.

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