Sentences with phrase «films third act»

The films third act proves to be its weakest, as «Swiss Army Man» searches for a conclusion, repeating flashbacks we have already been reminded of once in an already short film.

This leads to a disappointing pay - off for a promising character, who is almost entirely absent from the films third act.

The films third act will likely divide most viewers, which is why the early half is where you find most of the brilliance.

Not exact matches

There's this whole, you know, third act of films you've made that have quite a pessimistic view of life.

Annihilation's third act is the best of 2018 so far, and could be debated among film buffs for the rest of the year.

's third act is the best of 2018 so far, and could be debated among film buffs for the rest of the year.

The warm color palette is appropriately garish at necessary thematic times, while a few more intimate moments of dialogue towards the third act of the film do reflect a more modern cinematographic flair.

A definitely disjointed film, it coasts on the competent performances of co-stars Mendelsohn and Reynolds to keep viewers invested in a controversial third act that feels like a betrayal of the genre.

The inclusion of an absurd yet thoroughly captivating celebrity cameo, which essentially stands as a high point within the entire series, perpetuates Night at the Museum: Secret of the Tomb's better - than - expected third - act atmosphere, although, unfortunately, director Shawn Levy ensures that the film concludes with a whimper by offering up an excessively sappy final stretch that just goes on and on - with this underwhelming climax confirming the movie's place as an almost passable concluding entry in a seriously forgettable trilogy.

Credit lead Sarah Snook's gentle, sympathetic performance for holding together this atmospheric film, especially during its silly - campy third act.

Only when the film takes its most radical third - act jolts in tone does it feel forced, contrived.

The film's two major scenes of military conflict — the battle of Gaugamela, where Alexander's force of 40,000 bested the Persian King Dariussd III's 250,000 - strong army, and a third - act forest routing in India — are given short shrift and photographed in that jittery «you are there» un-StediCam-style that renders the action impenetrable.

Still, the film never quite nails down an overall tone, building to two powerful scenes closing out the second act and warming up the third: one between Gerry and his ex-wife (Robin Weigert, looking nothing like «Deadwood's» Calamity Jane) heartbreaking and tense, the other at a sparsely attended horse track with Gerry and Curtis seemingly all but solidifying their own sad fates.

And although Hurwitz and Schlossberg have admittedly peppered the proceedings with a handful of hilarious gags (eg Stifler finally gets his revenge on Finch for sleeping with his mother), American Reunion, saddled with a hopelessly sentimental third act, ultimately establishes itself as an overlong and underdeveloped sequel that could only be loved by hardcore fans of the original film.

Although it could use tighter editing — like most everything in this regrettably paced film — the third act reappearance of Gollum is terrific, and amplified by a go - for - broke motion - capture performance by Andy Serkis.

This was, by most accounts, a pretty troubled production, mired by delays and reshoots and a complete overhauling of the film's third act, but they managed to wrestle a mostly compelling and credible (given the circumstances) picture out of all that chaos.

The film's third act centers on an upsetting surprise, a trick of casting certain to shake the audience, a twist that demands we consider just how much beauty - minded societies demand of women.

Hanks» solid yet stiff performance is, in the end, emblematic of everything that's wrong with Inferno, as the film's overly serious feel is completely at odds with the fun, fast - paced tone of Brown's page - turner - with, especially, the dull third act ensuring that the movie ends on as anti-climactic a note as one could envision.

This along with the poorly managed special effects and CG work really cause an artificial distraction throughout most of the film's second and third acts.

There is, as such, little doubt that the film takes a serious dive in its increasingly underwhelming third act, with Ganz and Mandel's script emphasizing elements that couldn't possibly be less interesting - including Chuck's decision to break away from both Long and Keaton's respective characters (ie it's a twist on the dreaded fake break - up cliche).

The premise is right up there with any Charlie Kaufman film (Being John Malkovich, Eternal Sunshine of the Spotless Mind, Scynecdoche New York), containing so much juicy potential for interpersonal revelations, but the entire set up is thrown away in the third act for a «thriller» movie that came out of nowhere and does nothing but add a period in the middle of the sentence.

The film take a more blatantly serious turn in the third act than most of Anderson's previous stories have done, hinting at the emotions that are at the surface for the characters but that still feel deeply buried to us.

When you're not supposed to take a film too seriously, it can come as a shock when the emotional moments kick into high gear throughout the third act.

Occasionally written off as a lesser Alfred Hitchcock film (did we really need that third - act fashion show?)

The film's third act hinges not only on containing the outbreak of an all - out Wakandan civil war, but on stopping Vibranium weapons from leaving Wakanda's borders, destined to be used on foreign soil.

The scariest thing about the film wasn't the delicate buildup or the third - act gore but a simple, chilling exchange that was widely used in its marketing campaign.

Not only are that storyline's dance rehearsals and performance a surprising addition to the film; they grant the third act's military raid a great deal of its energy, cross-cutting to match the music and using choreography to drive emotion and movement.

It's mostly a «get what you see» type film, with the trailers really ruining the film's short third act action that brings about the conclusion in a deflating manner.

There are constant acknowledgements that you're watching a movie, and a formulaic one at that (right before the the start of the film's third act, our boy declares that if his plan succeeds, everybody gets to go home early because there'll be no need for a third act).

In the Fade is executed with precision, particularly the third act, in which the film morphs into a tense yet unconvincing revenge thriller.

The film's condensation of the years that took Wiseau to get over his heartbreak regarding the unexpected laughter that resulted in screening his «drama», and finally embrace the comedic aspects of the film, takes a bit away from important character development that could have given the third act a bit more substance.

Hey, maybe that's what took Spielberg so long to find his story and bring his film to fruition: Ford already covered the first act, and sometimes the third is the trickiest.

Additional highlights of his previous film credits include HERCULES, CUBAN FURY, JACK AND THE GIANT SLAYER, SNOW WHITE AND THE HUNTSMAN, starring in, and co-producing, the motion picture 44 INCH CHEST, Woody Allen's SCOOP, and voice over acting in the highly - acclaimed animated features, CORALINE, SHREK THE THIRD, KUNG FU PANDA, and THE GOLDEN COMPASS.

The book's non-linear, interview - based structure meant that World War Z was going to be a challenging project from the start, but the need last year to both re-write and re-shoot the film's third act (with the budget swelling to as much as $ 200 million in the process) suggests that it is a puzzle that hasn't quite been solved by the filmmakers.

Reviewing the film for The Chicago Sun Times, Roger Ebert praised the film for essentially not having a third act.

Once the covetous pair realize the true explanation, they turn on Mary and insist that she reveal where she found the Witch's Flower, sparking a big finale in which they kidnap Peter and attempt to transform him into the kind of malevolent shape - shifter so often encountered in the third act of anime films (such as «Akira's» all - consuming atomic mass).

The pace is uneven, the energy sluggish (even the arrival of Malcolm McDowell in the third act doesn't pep things up) and the film feels overlong.

He lurks in the shadows until a third - act kidnapping revives what little life there is of the film into some semblance of actually being a movie.

As the third act reels in, itâ (TM) s (Shia LeBeouf) who carriers this film all the way to the end, with a very impressive performance from him.

The duo become surrounded, and the film's third act turns into a showdown as the forces against these two exiles from society draw closer and closer.

If you were going down the list of things needed for a comedy to take flight you'd find them all here; the three main players pass the ball, the chemistry works, and the film never devolves into that most debilitating trope of the romantic comedy - a serious third act.

While engaging in some of the compression and conjecture that mark any enterprise in historical fiction, the film tacks closely to the established record, including a piquant third - act reveal that will surely send curious audiences to Google for more information.

There's simply no getting around the feeling that the film is spinning its wheels in the build - up to its underwhelming third act, which is a shame, certainly, given the relatively promising nature of the opening half hour.

It is not until well into the third act that the medley «One More Day» properly electrifies the film, followed swiftly by the show - stopping «Do You Hear the People Sing»; but it's too little too late.

A twist in the third act adds a meta and surprisingly emotional spin to everything we've already seen; in a film industry littered with projects explicitly capitalizing on moviegoer's nostalgia, The Lego Movie gets there with efficiency and a relentless, consistently endearing good humor.

Instead, all of that gets wrapped up before the end of the first act, thanks to a wacky cameo or two and we're off to the cosmic gag that takes up the second third of the film.

And don't think ZACHARIAH is wanting in the suspense department; in fact, the entire film (especially in its third act) hums with an imperceptible tension, as these characters slowly figure out if they can trust one another (and, really, spend the rest of their lives together).

The passable atmosphere persists right up until Weather Girl enters its tiresome, needlessly melodramatic third act, with the ineffectiveness of this stretch cementing the film's place as a decidedly underwhelming romcom (although, having said that, it's impossible to deny the strength of the heartwarmingly romantic finale).

Though the third act of the film arguably leaves much to be desired, it's hard to imagine Iron Man without Bridges.

The third act wraps up the story in an unexpected way, confronting the monster invading Cody's dreams in a matter - of - fact, talky way, which, in another film, would show a lack of budget, but here points to a more fulfilling aim than simply trying to scare you.