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Shyamalan pulls that card out way too late in the game, and he damn near pulls it from the bottom of the deck. I admire Shyamalan for creating his own super-villain universe of sorts (the brilliant , my personal favorite of his films, remains the best grounded-in-reality superhero movie ever made), and I’m hoping he does build upon it in the future, but I can’t help but be baffled by the choice to make , but connecting the two in literally the final moment had a cheapness to it that rubbed me the wrong way.

Rather than focusing on telling us a new story, he instead chooses to remind us of an old one, hoping that we’ll be too awestruck to care that he didn’t really bother to finish that new story or create something on the level of the old one. It was fan service, to be sure, but it was fan service that seemed specifically designed to distract us from the fact that deserved better than its cop-out ending, cool as it may have been.

call it quits – despite Sam insisting that he didn't want to move in with Tiff as he's "not 90 years old". Unsurprisingly, viewers at home had just about enough of Sam and Tiff's antics, wishing that #Stiff had instead reached a more permanent conclusion.

More confusing than the fact Sam and Tiff are going on a break, however, was the reveal that Sam once bought Tiff an owl. Causing widespread bewilderment over on Twitter was Sam's defence against Tiff's claims that he'd never "fought for" her.

Highlighted by an incredible performance (or series of performances, really) from James Mc Avoy that would probably earn him an Oscar nomination had this not been a horror film, as well as yet another one from Anya Taylor-Joy that suggests she’s quickly on her way to becoming genre royalty, is a fine film, but it’s also one that just doesn’t really go anywhere.

As compelling as it is in the early going, it eventually starts to drag and, worst of all, feel longer than it actually is.

Three young women are kidnapped from a parking lot by a mysterious man who clearly isn’t playing with a full deck, and they’re taken to some sort of underground bunker that’s strangely well-furnished. We just know that the many personalities seem dead set on the idea that a so-called “Beast” will soon be making an appearance.

I'm so motherfuckin' turned up right now Someone please turn Gucci Mane down Brick Squad thugged out, we don't give a fuck We hit the club, shoot the club, tear the club up So you should hit the floor.

Get low and shut up Hit the floor, get low and shut the fuck up You's a bitch, you's a snitch, you a motherfuckin' scrub [Verse 1 - Gucci Mane] I pulled up in a 4-door Porsche, set-trippin' 3 young dreadhead niggas riding with me I don't think they like me and I don't like em neither But if they move wrong, I'll red up their white beater I do it for the hood, I do it like no equal I do it for the red, black, yellow, white people I just bought a K, just the other day And I don't play with grown men: I don't like to play I'm so motherfuckin' turned up right now Niggas hang on me, I don't give a fuck right now Well you niggas keep on trying like the little engine that could You think you can, you think you could, I think you pussies should [Hook] [Verse 2 - Gucci Mane] Call me Gucci Flocka Flame, I dun changed my name Call me Frenchie Mane La Flare, Gucc' the's all the same I be running, gunning, stunting with 100 killers riding You snitching, bitching, tattle-telling, scared to stand beside me I just bought another house just to house my goons So Icey Entertainment, boy, we just like a platoon The colors in my chain remind me of a cartoon I'll murk your boy in March, they didn't find that boy til June I wish they found him August so that's like "too much too soon" His face was swoll and puffy, bout the color of a prune Brick Squad Movement and, no, you're not apart of it Me, Waka and Wu, Juice and Frenchie Mane started it [Hook] [Verse 3 - Wu the Kid] Iced out bar got me ballin' like the Lakers Homicide around the corner.

We’re promised answers to all the questions we (and the characters) have been pondering throughout, and we can be pretty sure that things won’t turn out how we’re expecting them to. For the most part, everything about the core story ends up in the exact place we’d most expect it to. One of them remarks that the story seems similar to something that happened years prior: a train was blown up by a man given a villainous moniker by the media.

Everything the multiple characters residing within the villain (including a man, a woman, and a child) have been telling the women turns out to be true: one of those personalities is a “Beast” of sorts, and he ends up killing and consuming two of the women. The man sitting next to the woman who makes the comment turns out to be Bruce Willis’ heroic character from . My jaw honestly dropped nearly to the floor, and though I’m pretty sure most everyone else in the theater with me had no idea why such a big star like Bruce Willis was popping up for a cameo appearance at the tail end of a horror film (‘‘), I can confirm that I was genuinely shocked and totally surprised. There’s simply no denying that ‘s twist is a treat for longtime Shyamalan fans, ending the film on the highest of notes; but as I made the drive home and the thrill of that shocker wore off a bit, I began to remember that just prior to that post-credits stinger, I wasn’t exactly thrilled with the film.

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