Sentences with phrase «third act»

It's weird, because the movie is at its funniest in third act, even though it's usually not like that.

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

And that work to establish how vital he is to the whole process pays off in the film's crushing third act when the disease begins catching up to him.

It is so out of place that the entire third act feels awful in comparison to everything else, which is always at the very least moderately entertaining containing laughs here and there.

It's a big third act reveal that should have happened earlier in the film.

Early word is the film is dramatically engaging, while its mysterious supernatural element keeps the audience continually guessing about where the film is headed as it builds toward third act surprises.

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

The brilliant third act here does bring many of the pieces together.

Fans of the book should also note that the whole third act is not included in the movie.

But he's the muscle needed to bring the action - packed third act home.

Sure, the first film wrapped up with a weak and rushed third act, but otherwise, it was well made and genuinely scary.

And if it weren't for the somewhat slow third act, I'd be touting this as the best in the series so far.

It provides some nice building tension in its second half, an ingenious little device involving colored glow sticks, and a wonderfully paced third act and finale.

The uneven tone hurts the end of the film, which has already been through a way too rushed second - to - third act transition.

And yet, despite its incredibly slow start, Ant - Man is a pretty satisfying watch, with a genuinely thrilling third act filled with considerable visual variety, action, and humor.

Despite a hugely entertaining third act, there's nothing truly spectacular about this predictable heist film.

It really feels like it could have a really big third act, and I certainly hope the film doesn't face a critical and commercial backlash that many are assuming it will.

The slow pacing of the opening act and much of the broad characterization melts away into the visceral and intellectual thrills of its excellent third act.

The nightmare logic, cosmic set up, and crazy third act are fantastic!

This is why the film's third act rings a bit hollow.

He almost grounds the absurd third act due to the strength of his performance.

As soon as one reference is revealed, two others follow in the memorable third act.

There are three different narratives going throughout culminating into a thrilling no - holds - barred third act.

Of course, that third act mentioned early throws in some meaningless revelations that don't add anything nor are used to any extent.

The second and third acts contain the year's best action sequences and one twist that made the movie into a dark dysfunctional family tale.

With that said, the sluggish first two - thirds were saved by an exciting and creative third act.

The second and third acts raise the stakes, and the humor appropriately steps to the side to allow for the story to run its course.

All of it is very broad from the humor to the shifts in tone to the oddly paced third act.

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

Known for what I call his «visceral experiences, a knack for third acts that turn into delirious, uncommon tonal atmospheric twists», Hold the Dark is much larger production than Blue Ruin (2013) and Green Room (2015) combined and in terms of landscape probably provided the filmmaker with quite the challenge.

Nothing is off - limits; comedy is mined from a character that unknowingly takes female hormonal medication continuing to do so out of unexpected enjoyment, all resulting in some rather childish but funny physical transformations), the women are nonexistent and add nothing to the experience (there are a number of third act twists here that feel half - hearted in their efforts to correct this, but really, Emmanuelle Chriqui's presence all comes down to a bet over who will bone her first).

When a Twitter user asked Landis why he thought the villagers in the original film didn't stop the werewolf themselves, the screenwriter revealed that he's exploring this detail in his script, and it will account for one of the biggest deviations from the original film: «Answering this question and the nature of the village's role in the plot in the second and third act as of now are the biggest changes I've made to the original structure... Doing some fun stuff.»

Really the first two chapters are merely a support act for the vastly better third act which introduces NPCs, traps, decoys and larger levels that give you the opportunity you venture off the beaten path and set up shop in other areas than just the beaten path.

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

It's a mixed bag, actually, and while it's hardly the train wreck that is so often the case with third acts, American Wedding clearly suffers from a lack of good gags.

The exhilarating third act does ensure that Angels & Demons ends on a positive note, admittedly, yet it remains abundantly clear that the film simply isn't as pervasively engrossing as one might've hoped.

Reteaming with Frances Ha star / co-writer Greta Gerwig, Mistress America marks Baumbach's most playful film yet, and while its farcical third act goes a tad over-the-top, the winning lead performances by Gerwig and newcomer Lola Kirke, as well as a John Hughes-esque tone and score make it a delight to take in.

The first half of the film, charting our heroine's domestic problems, are mostly just depressing, And the film's third act seems to have been stuck on just to give the story a dramatic conclusion.

Even though Black Nativity feels a little cluttered early on, a strong third act leaves the audience with the clarity of a more satisfying high note (and I mean that literally; a cover of the Stevie Wonder classic «As» plays over the closing credits).

The initial emphasis on Jack's decidedly mundane endeavors - ie he eats dinner with a priest, he meets with the aforementioned client, etc, etc - proves instrumental in transforming the character into a surprisingly compelling and sympathetic figure, which inevitably does heighten the suspense once the tense and thoroughly engrossing third act rolls around (ie the viewer can't help but actively root for Jack's success).

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 Dixon injured himself, the entire third act makes no sense.

Much of the movie plays out like a thrilling — and tragic — underdog sports story, but its surprise third act shows that the real story of Bill McCartney isn't just about faith and success: It's about personal redemption.

Building off an early juxtaposition between a military banquet of rare steaks and Boyd remembering hiding under the bloody corpses of his brethren, the film's second and third acts get morbid chuckles from the onset of murder and consumption.

It's very possible that the entire third act of Wendigo is a projection of Miles's imagination as it tries to incorporate real events with his interpretation of them.

The House of Sand and Fog: Despite a few third act problems, Vadim Perelman's adaptation of Andre Dubus III's novel is enormously entertaining - and contains Oscar - caliber performances from Jennifer Connelly and Ben Kingsley.