He continues to show that he has a masterful understanding of comedic timing and dramatic build up, knowing just when
the scenes emotional climax needs a laugh, a cry, or both.
Not exact matches
Moretz ends up going on a rampage for the
climax like the Dark Phoenix from X-Men: The Last Stand with arms held out and eyes in «looks could kill» mode, but lacks the
emotional resonance of Spacek's trance - like turn, in which her powers unleashed came as a shock, but with an overriding sense of tragedy; Moretz is shown practicing her skills extensively during several
scenes, which makes her revenge seem much more calculated and evil.
Walken's best
scenes come early in the film, particularly when he learns the bad news, but he later provides the film's
emotional climax, demonstrating his versatility in a sensitive and physically challenging apart.
What is surprising about her direction is the
emotional power she is able to pack into some
scenes, especially the
climax and the surprisingly moving final shot — in the hands of a less assured director, it could have been a simple, routine embrace, but in Bigelow's hands, it is so much more.
But just when you think both actresses are being underutilized, Spielberg gives them each their own show - stopping moment: Paulson with a resonating speech about how admirable Graham's actions are, and Coon with a
scene near the film's
emotional climax, delivering a line that will send goosebumps up your arm.
Whether her work portrays a series of narrative fragments or a single evocative
scene repeated over and over, Friedman heightens the
emotional impact by cutting directly to the film's
climax in order to, as she puts it, «get to the part you really care about.»