Sentences with phrase «final act takes»

The world Lanthimos has created is wonderful and could have been explored a bit more before the final act takes the audience elsewhere, but the film's quirkiness, inventiveness, and sense of dark humor is worth a watch.

Like with the films of Mr. Boll, the blunt farce of Beyond the Reach's disastrous final act takes on a briefly transcendent quality, as though No Country for Old Men was made in the 80s with Anton Chigurh reworked to be more like Jason Voorhees or Michael Myers.

Not exact matches

ESPN's Seth Wickersham wrote a bombshell report detailing the power struggle taking place inside the Patriots organization, as Brady, Belichick, and Patriots owner Robert Kraft look to define their legacy in what's likely to be its final act.

When Leonid Brezhnev signed the Helsinki Final Act in 1975, he probably thought he was taking out a ninety - nine - year lease on Stalin's external empire.

It is these unitary, indivisible events that are the final subjects that take account of others and act on others.

In simple words, human love - in - act, human concern for justice, human relief of oppression, and sound human ways of relationship are all properly to be taken as creaturely reflections of and creaturely agencies for the divine Love that is God, the primal cause and the final affect.

It's not often you will find a referee taking charge of successive home games at a club but it is almost fifteen weeks since that promotion clincher and I certainly had no argument with his last act that afternoon, to blow that final whistle to signal that, once again, we are a Premier League club.

A final decision on whether to bring criminal charges under the 2001 Prevention of Corruption Act will be taken by the Attorney General Baroness Scotland in the next few weeks.

The Senate is likely to take up the bill soon after the House acts, with a final vote today or tomorrow.

«For the sake of the country Gordon Brown must take the one final act of authority left open to him, go to the palace today and call the general election we have been demanding.»

Malloy will be required to formally release a final budget next year before he leaves office, but then the newly elected governor will take over and release a budget that will be acted upon by the legislature.

It is not clear when or how PERB will act or how long the process will take; because of the dispute, there may be appeals before a final decision is reached.

The final third act took place entirely here which was dressed up as the «Danbury Hotel.»

Hyde inevitably takes over the film's mercifully brief final act, threatening the lives of both Ana and Christian's sister, Mia (noted wholebrity Rita Ora, who also appears on the film's so - bland - it's - oppressive soundtrack).

In fact the majority of the film takes place during the final months of the War Between the States, that great act of treason.

A Royal Affair loses its steam a bit in the final act, as the political shifting behind the scenes doesn't mesh too well with the love story that takes center stage, but it's all part of the required setup that brings us to that explosive climax which is well worth any minor complaints along the way.

As the film's final act begins, Graham is ushered out of a D.C. society party she's hosting to take a call with Bradlee, her trusted adviser Fritz Beebe (Tracy Letts), and the disapproving board member Arthur Parsons (Bradley Whitford).

Even though «Detroit» covers the five days of the riots (and flashes forward several years in the final act) the core of the film takes place at the motel that fateful night.

Their romance becomes the central of the story, which also takes some interesting turns in the final act.

The final act here almost works, although it takes too long to get there.

He took his crew and actors right into the midst of the chaos and shot the pivotal final act amongst the police and protesters.

Mayer does something a little unusual, taking a snippet from the final act and making it a brief prologue of sorts, a useful device that brings the story — which takes place over two years — full circle.

Ostensibly a breezy dramedy about a progressive Brooklyn trio trying to get pregnant, it's no spoiler at this point to reveal that the Chilean director's latest film takes a hard left in its final act.

With the quartet taken to top - secret government facility Area 57, Reed scarpering and the others learning to control their powers, it all lurches into a dreadfully dull final act, where Von Doom, all powered up from the energy - giving planet, gets a cob on.

Final Verdict: The first half is fantastic and while the second half has to take upon itself to handle the darker side of things, overall it is a well directed, beautifully written and superbly acted film.

Draft Day offers a compelling behind - the - scenes look at NFL teams» maneuvering, but it loses its way with a far - fetched final act that undermines the realism it previously took great pains to establish.

Sunshine takes a good chunk of time advancing the usual formula for a sci - fi thriller before it gets to its meatier material in the final act, but when the film gets there, the story takes on a stimulating philosophical edge.

Unlike the previous movies, however, The World's End loses control of its final act, taking what had been a fun ride and crashing it into a ditch.

Then, for the final stretch, Mandy switches gears, cleaving to its arresting oddness, but accelerating into a revenge thriller as Cage bottles the essence of every whack - job he's ever played and then takes his wild - haired, wigged - out, bug - eyed nutjob act to a whole new level.

The film, Bong's English - language debut, is a violent sci - fi action flick that lets its anarchist leanings take over in the final act.

That heat takes a while to build up, but not in the tension - filled way that ace horror directors like to slow - burn their audience with drips of suspense before gunning everything into full - throttle when the final act comes.

It would take its time to explain what was going on and we would be treated to a slow origin story of the Avengers team and a final act showdown with Loki.

He presents himself as a macho - adventurer, offering his services to bring them to safety, and it takes until the very final moments of the second act before the obvious joke that he's anything but how he looks is finally revealed.

We'd be foolish not to give some sort of shout out to other terrific scenes throughout the year, like the hilarious funeral sequence in Li» l Quinquin, which had us doubled over from laughter; both the border crossing and night vision sequences in Sicario; the ending of Carol, which should get an emotional response out of even the coldest souls; the opening long take in Buzzard, a painfully funny experience much like Entertainment; the bonkers final act of Jauja; a scorching scene from The Fool where the town mayor lays into her corrupt staff; everything that happens at Mamie Claire's house in Mistress America; the intense argument between Gerard Depardieu and Jacqueline Bissett in Welcome to New York; the tightrope sequence in The Walk, and much, much more.

As right as Ellison may be (and he definitely is right, as anyone who saw the film can attest), Garland and producer Scott Rudin maintained final - cut privileges and refused to take his notes to change the third act.

Though the true meaning of this quote won't take hold until the final act, it presents many questions.

All told, nearly three quarters of the film is spent trying to decode Assange without much to show for it, but it's only in the final act that «The Fifth Estate» decides to engage and try to discuss the ethics, morals and consequences of WikiLeaks work — in particular around the release of the Afghanistan War Logs — in any substantive way, but again a lack of courage on behalf of the filmmakers to take any position renders the film narratively limp.

Cooper's role as the policeman provides a different perspective on the father - son relationship, as well as sets up the final third act of the film, which takes place some fifteen years on after Avery Cross is first introduced.

By far, the movie's biggest misfire comes in its final act, where it takes what is frequently the weakest part of comedy films (the big spectacle climax) and draws it out to over twenty minutes, or about 15 minutes too long.

But when it came to the movie's final scenes, Fassbender said that he was able to take his acting to the next level by wearing Steve Jobs» iconic turtleneck.

Until the special effects take over in the final act, this is an unusually gritty, grounded superhero thriller, with characters who are so believable that the wacky science almost seems to make sense.

Unlike a sports comedy that spends most of its time in an arena and nearly all its final act on «the big game / race / match», Blades is much too smart to take this hackneyed approach.

Stacey Menear's screenplay doesn't manage to sustain its clever premise, with the final act featuring a banal and formulaic revelation that unfortunately takes what had been a spooky haunted house tale into familiar slasher movie territory.

Their bristly conversations in the final act play out in long takes that are seriously gripping.

At times it's as if we're watching a filmed play — especially when things take a dark turn in the final act, and one character reveals some shocking truths.

Even the final act, which has already erroneously been taken as a social statement (I will only give generalizations), debates a controversial issue but brings it squarely to the specifics of these characters and the situation in which they find themselves.

Battle: Los Angeles finally hits a more blockbuster tone in the final act, where the squad takes on an enormous alien control ship using all of their resources and military instinct.

Taking place 15 years later, the final act is predictable but nonetheless rewarding as Cianfrance's story comes full circle to find Luke and Avery's teenage sons (Dane DeHaan and Emory Cohen, respectively) become unlikely friends during a chance meeting, ultimately forced to deal with the actions of their fathers.

The film's off - and - on social advocacy becomes abruptly dominant in the final act, as Taylor offers scene after scene depicting the terror of human trafficking, and a film that had previously been impossible to take seriously suddenly starts taking itself very seriously indeed.

«The final act helps READY PLAYER ONE redeem itself a bit as it's energetic and puts the spotlight on the elements that should have taken center stage from the outset.»