Sentences with phrase «third act feels»

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.

The only real problem with The Good Dinosaur is that much of the third act feels very random, choosing to introduce villains as opponents on the road home when nature is already a seemingly insurmountable force of unpredictable chaos.

First of all, at 110 minutes, I FEEL PRETTY overstays its welcome by a good 20, making the third act feel like a list check of familiar tropes.

And the character of the author depicted here — a cameo I won't give away — felt a bit one - dimensional and obvious (his noble decision in the third act felt completely uncharacteristic).

This only lasts so long, however, as his sudden character change in the third act feel more artificial than natural.

Not exact matches

Reaction: Hodgson lionises England record - chaser Rooney (Euro 2016 qualifying) Report: Rooney sees off Slovenia to close on record (Euro 2016 qualifying) Reaction: Coleman foresees glory for conquering Wales (Euro 2016 qualifying) Report: Bale sinks Belgium to fire Welsh dreams (Euro 2016 qualifying) Reaction: Hodgson tells under - fire Sterling to toughen up (friendly) Report: England and Ireland draw a blank in Dublin (friendly) Reaction: De Gea uncertainty clouds Man United's horizon (Premier League) Report: Arsenal thwart Man United as De Gea departs (Premier League) Reaction: Liverpool prepare for life without «irreplaceable» Gerrard (Premier League) Reaction: Gerrard «devastated» after final Anfield game (Premier League) Report: Gerrard says farewell as Crystal Palace poop party (Premier League) Reaction: Arsenal manager Wenger irked by Swansea «accident» (Premier League) Report: Arsenal sunk by Fabiański and Gomis (Premier League) Reaction: Rodgers accuses Fàbregas as Liverpool's top - 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Because Carell makes us believe in and care about Andy, the third - act drama of his relationship with Trish (Catherine Keener, ever good) feels as organic to the story as the gut - busting laughs that preceded it.

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.

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

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.

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.

Though the first installment is a bit choppy, the second and third are filled with the kind of surprising stories, nuanced acting and hard - won redemption that make the show feel more like a mini-movie than a mere hour of TV.

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.

The editing is off and there's an event that takes place within the third act that felt forced but in a summer filled with big popcorn movies it's good to get a small treat brought to us by the great Cameron Crowe.

Finally, the third act takes a complete left turn into new territory that doesn't feel organic but borne out of a desire to wrap up with a massive bang.

The editing is off and there's an event that takes place within the third act that felt

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.

The editing is off and there's an event that takes place within the third act that felt forced but in a summer filled with big popcorn movies

It almost completely falls apart in a tortuous third act and ultimately leaves us feeling strangely empty and dissatisfied.

As anyone who sat through the last three «Pirates» movies might expect, «The Lone Ranger» is too complex for its own good, culminating in a long - winded third act that feels like it'll never end.

For a spell, it feels as if the film will transcend the unpromising irony of its title with a female protagonist painted as unflattering and tortured, but by the time the final credits roll after an unforgivable third act, Murder by Numbers washes out as just another imminently forgettable movie starring Sandra Bullock.

The film's third act reveal feels cheap initially, but Murphy rewards us with an ending that's alternately satisfying and creepy.

At a running time of close to two hours, Trading Places inevitably winds up feeling like too much of a good thing - with the movie's less - than - enthralling third act the most obvious victim of its overtly flabby sensibilities.

In «The Dark Horse,» a New Zealand drama from writer - director James Napier Robertson about a real - life Maori chess coach with mental illness, star Cliff Curtis is so heartbreakingly convincing in the lead role that he routinely frees you of the feeling you're watching one more adversity saga with scrappy kids and a third - act tournament.

Rookie director Sergio Sanchez tosses around some intriguing ideas, but the result feels uneven and emotionally detached, with some implausible third - act twists causing the tension to dwindle.

For the first and third acts, World War Z focuses on that dynamic and lets the shock felt by both the characters and audience at seeing civilization crumble before their very eyes work on a psychological level.

The cancer comes into the picture late in the third act, long after we've grown to know and love these characters, so it doesn't feel like a tear - jerking gimmick.

The second and third act lulls and the audience feel every minute ticking by of this film's 117 - minute runtime.

Daniel Mecca, The Film Stage Too often the filmmakers rely on lowest - common - denominator prison rape jokes and lazy plotting to allow for action - comedy set pieces, resulting in a poorly - constructed scene at a White Supremacist stronghold and a sloppy third act that feels like an afterthought.

During these conversations, a glint of tension is felt between Celine and Jesse, but it really doesn't prepare us for the harsh reality of the third act.

By the time «Tabloid» winds down with one of the most unpredictable third acts in documentary history, its clear that Morris is less interested in facts and more interested in the truth felt by the people involved.

It may be a bit predictable to older viewers, but the film's third act twist stings every time, and Csupó's refusal to ease the pain only makes the rest of the movie feel that much sweeter.

Ted is hobbled by a labored third act and a subplot involving a demented loner played by Giovanni Ribisi that is so ragingly gratuitous, it almost feels like an homage to the famously unnecessary diamond - smuggling subplots of the»80s, but Ted is so consistently, even explosively funny and oddly good - natured throughout that it really doesn't need a plot at all, let alone an even - less - welcome chase scene.

It is a tough act, one that requires my initial compartmentalization of feelings between their S&M role playing and their otherwise normal relationship, and an inversion of that status quo as the compartmentalization starts to break down in the film's final third.

Because of Depp's detached performance and a rushed third act that seems cruelly indifferent to the horror of the murders, the gruesome ending does not feel like the shocking reveal the film was building up to, but rather like a gratuitous and unpleasant fuck you.

Unfortunately, the film feels like it is missing clear direction and falls apart a bit in the third act.

There's a moment in the third act of Paper Towns where I felt like looking away, rolling up into a tight ball, putting my head to my knees and just rocking back and forth until the pain of the truth went away.

There are moments when Star Wars: The Force Awakens feels like a modern action - adventure classic; the climactic, snowy - forest lightsaber fight, for example, ranks up there with the best in the series (in fact, the entire third act is unbelievably good).

When an uncredited A-lister turns up to kickstart the third act, Interstellar begins to feel more like those disaster movies that Irwin Allen used to make, bulging with enough star wattage to keep our eyes on the screen and not rolling to the back of our heads.

But Hooper lacks the nerve to stand by his transgressions, and resorts to cheap effects like an over-used fluttering camera speed to imply a bad drug trip and sentimental theatrics like a third - act monologue where the villains spin monologues about their past sins that feel ripped from a dud soap opera.

The newest comedy from Hangover brainchildren Jon Lucas and Scott Moore, 21 And Over feels like the third act of 2009?

Seemingly made from a normal superhero screenplay that had only been partially reconstructed after a threshing accident, the famously troubled production makes itself felt in a third act that pretty much tears itself apart, being ripped in so many directions at once.

By the third act, The Huntsman Winter's War felt like a very dark version of Frozen.

He brought along his «Argo» writer Chris Terrio to pen the new adaptation, and producer Kathleen Kennedy told us last year that there's no fear of another version so soon, saying «I don't do usually do remakes, but this was also a movie that wasn't seen by a lot of people in the U.S.. It's an absolutely fantastic movie, but at the same time, there was a bit of a flaw in the third act in terms of how everything wrapped up, so it just felt like perfect remake material.»

Daniel Bruhl is a tremendous actor, and he does more than adequate work as Zemo, but his motivations are murky and his actions logically questionable, making him yet another in a long line of uninspired villains, taking a few too many logical leaps in the third act to feel genuine.

Story construction just isn't Shelton's forte (as the nonexistent third act of Your Sister's Sister made clear), and without a sturdy framework or believable people, the movie just feels like an assortment of half - assed ideas vaguely organized around a nebulous theme.

However, it feels like there was a chunk left on the cutting room floor, and the film loses its momentum in the third act with an anticlimactic conclusion.

It starts as an intriguing enough mystery, evolves into a suitable second - act quest; however, some third - act «twists» just derail whatever narrative momentum the story manages to build, and muddles both the mythology and character relationships developed up to that point, leaving us with an awkward ending that doesn't feel much like an ending so much as a chapter break.

It's an audacious 15 minute segment that instantly establishes itself as the highlight of the film and unfortunately ensures that what comes after feels awfully anti-climactic, with the eye - rollingly melodramatic and sentimental third act certainly exacerbating this feeling (it also doesn't help that there reaches a point at which the movie could logically end but chugs along for another 20 minutes or so).