Sentences with phrase «third act seems»

There are occasionally battles that go on a bit too long and the reliance on a supernatural enemy for the third act seems a bit too familiar if you've only just played through Drake's Fortune, but this is a game that still stands out against the very best of the PS3 generation.

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.

The third act seems like it rushes a little bit, but that was fine since it just kicks into some good action sequences.

The third act seems to build up to Flores finally coming across with the man who led to the death of two of his colleagues and, again, that confrontation never comes.

Her moments in the third act seem like they're coming too far from left field, but are still essential to this story's message about family communication.

Some of the clues pieced together in the third act seem to come from nowhere.

Not exact matches

Eyeing but one party and leaving alone all those rich elders and their sons of high society going to third world nations / countries seeking acts of sensualistic desires with enslaved «children» seems to have slipped thru your reason abilities...

This is an incredibly difficult question to answer for a variety of reasons, most importantly because over the years our once vaunted «beautiful» style of play has become a shadow of it's former self, only to be replaced by a less than stellar «plug and play» mentality where players play out of position and adjustments / substitutions are rarely forthcoming before the 75th minute... if you look at our current players, very few would make sense in the traditional Wengerian system... at present, we don't have the personnel to move the ball quickly from deep - lying position, efficient one touch midfielders that can make the necessary through balls or the disciplined and pacey forwards to stretch defences into wide positions, without the aid of the backs coming up into the final 3rd, so that we can attack the defensive lanes in the same clinical fashion we did years ago... on this current squad, we have only 1 central defender on staf, Mustafi, who seems to have any prowess in the offensive zone or who can even pass two zones through so that we can advance play quickly out of our own end (I have seen some inklings that suggest Holding might have some offensive qualities but too early to tell)... unfortunately Mustafi has a tendency to get himself in trouble when he gets overly aggressive on the ball... from our backs out wide, we've seen pace from the likes of Bellerin and Gibbs and the spirited albeit offensively stunted play of Monreal, but none of these players possess the skill - set required in the offensive zone for the new Wenger scheme which requires deft touches, timely runs to the baseline and consistent crossing, especially when Giroud was playing and his ratio of scored goals per clear chances was relatively low (better last year though)... obviously I like Bellerin's future prospects, as you can't teach pace, but I do worry that he regressed last season, which was obvious to Wenger because there was no way he would have used Ox as the right side wing - back so often knowing that Barcelona could come calling in the off - season, if he thought otherwise... as for our midfielders, not a single one, minus the more confident Xhaka I watched played for the Swiss national team a couple years ago, who truly makes sense under the traditional Wenger model... Ramsey holds onto the ball too long, gives the ball away cheaply far too often and abandons his defensive responsibilities on a regular basis (doesn't score enough recently to justify): that being said, I've always thought he does possess a little something special, unfortunately he thinks so too... Xhaka is a little too slow to ever boss the midfield and he tends to telegraph his one true strength, his long ball play: although I must admit he did get a bit better during some points in the latter part of last season... it always made me wonder why whenever he played with Coq Wenger always seemed to play Francis in a more advanced role on the pitch... as for Coq, he is way too reckless at the wrong times and has exhibited little offensive prowess yet finds himself in and around the box far too often... let's face it Wenger was ready to throw him in the trash heap when injuries forced him to use Francis and then he had the nerve to act like this was all part of a bigger Wenger constructed plan... he like Ramsey, Xhaka and Elneny don't offer the skills necessary to satisfy the quick transitory nature of our old offensive scheme or the stout defensive mindset needed to protect the defensive zone so that our offensive players can remain aggressive in the final third... on the front end, we have Ozil, a player of immense skill but stunted by his physical demeanor that tends to offend, the fact that he's been played out of position far too many times since arriving and that the players in front of him, minus Sanchez, make little to no sense considering what he has to offer (especially Giroud); just think about the quick counter-attack offence in Real or the space and protection he receives in the German National team's midfield, where teams couldn't afford to focus too heavily on one individual... this player was a passing «specialist» long before he arrived in North London, so only an arrogant or ignorant individual would try to reinvent the wheel and / or not surround such a talent with the necessary components... in regards to Ox, Walcott and Welbeck, although they all possess serious talents I see them in large part as headless chickens who are on the injury table too much, lack the necessary first - touch and / or lack the finishing flair to warrant their inclusion in a regular starting eleven; I would say that, of the 3, Ox showed the most upside once we went to a back 3, but even he became a bit too consumed by his pending contract talks before the season ended and that concerned me a bit... if I had to choose one of those 3 players to stay on it would be Ox due to his potential as a plausible alternative to Bellerin in that wing - back position should we continue to use that formation... in Sanchez, we get one of the most committed skill players we've seen on this squad for some years but that could all change soon, if it hasn't already of course... strangely enough, even he doesn't make sense given the constructs of the original Wenger offensive model because he holds onto the ball too long and he will give the ball up a little too often in the offensive zone... a fact that is largely forgotten due to his infectious energy and the fact that the numbers he has achieved seem to justify the means... finally, and in many ways most crucially, Giroud, there is nothing about this team or the offensive system that Wenger has traditionally employed that would even suggest such a player would make sense as a starter... too slow, too inefficient and way too easily dispossessed... once again, I think he has some special skills and, at times, has showed some world - class qualities but he's lack of mobility is an albatross around the necks of our offence... so when you ask who would be our best starting 11, I don't have a clue because of the 5 or 6 players that truly deserve a place in this side, 1 just arrived, 3 aren't under contract beyond 2018 and the other was just sold to Juve... man, this is theraputic because following this team is like an addiction to heroin without the benefits

The discovery that specific yeasts act as third symbiotic partners in lichens began with an investigation into why two lichen species seemed genetically identical but had distinctive attributes.

Side Quest: While there seemed to be three distinct acts in the movie, the third act never really delivers the pay off.

Actually, the third act might be the weakest, if just because it seems a bit trite.

The meandering midsection, which seems to consist primarily of time - wasting subplots (eg Finch's difficulties using public toilets), eventually leads to a hopelessly sentimental third act that is, to put it mildly, somewhat anticlimactic, which effectively (and ultimately) cements American Pie's place as a disappointingly tame and conventional bit of mainstream filmmaking.

With most of its production values strong (some third - act visuals don't seem to match tonally), and the engrossing accompanying music, Annihilation is a well - rooted installment in the burgeoning studio sci - fi reawakening.

The most prominent characters include Haven Hamilton (Henry Gibson), a socially conservative, arrogant country music star; Linnea Reese (Lily Tomlin), a gospel singer and mother of two deaf children; Del Reese (Ned Beatty), her lawyer husband and Hamilton's legal representative, who works as the local political organizer for the Tea Party - like Hal Philip Walker Presidential campaign; Opal (Geraldine Chaplin), an insufferably garrulous and pretentious BBC Radio reporter on assignment in Nashville, or so she claims; talented but self - involved sex - addict Tom Frank (Keith Carradine), one - third of a moderately successful folk trio who's anxious to launch a solo career; John Triplette (Michael Murphy), the duplicitous campaign consultant who condescendingly tries to secure top Nashville stars to perform at a nationally - syndicated campaign rally; Barbara Jean (Ronee Blakley), the emotionally - fragile, beloved Loretta Lynn - like country star recovering from a burn accident; Barnett (Allen Garfield), Barbara Jean's overwhelmed manager - husband; Mr. Green (Keenan Wynn), whose never - seen ailing wife is on the same hospital ward as Barbara Jean; groupie Martha (Shelley Duvall), Green's niece, ostensibly there to visit her ailing aunt but so personally irresponsible that she instead spends all her time picking up men; Pfc. Glenn Kelly (Scott Glenn), who claims his mother saved Barbara Jean's life but who mostly seems obsessed with the country music star; Sueleen Gay (Gwen Welles), a waitress longing for country music fame, despite her vacuous talent; Bill and Mary (Allan F. Nicholls and Cristina Raines), the other two - thirds of Tom's folk act, whose ambition overrides constant personal rancor; Winifred (Barbara Harris), another would - be singer - songwriter, fleeing to Nashville from her working - class husband, Star (Bert Remsen); Kenny Frasier (David Hayward), a loner who rents a room from Mr. Green and carries around a violin case; Bud Hamilton (Dave Peel), the gentle, loyal son of the abrasive Hamilton; Connie White (Karen Black), a glamorous country star who is a last - minute substitute for Barbara Jean at the Grand Old Opry; Wade Cooley (Robert DoQui), a cook at the airport restaurant where Sueleen works as a waitress and who tries unsuccessfully to convince her that she has no talent; and the eccentric Tricycle Man (Jeff Goldblum), who rides around in a three - wheel motorcycle, occasionally interacting with the other characters, showing off his amateur magic tricks, but who has no dialogue.

This seems to be the impression of most European reviewers who've written about Sunshine, and unfortunately this has led some to unjustly criticize the film (and especially the third act) for being unbalanced, confused or even shallow.

Familiar elements such as a dark family secret, a ghost and a Ouija board start to seem trite after a while, and the third act is a little ridiculous, but debut writer - director Nicholas McCarthy does a lot with a little and seems fully prepared to handle a big - studio horror project.

But the editors seem to get a better footing in the second and third acts approaching the climactic battles between Dastan and a band of Hassansins — creepy fellow in black, quite handy with blades.

Coleen Atwood's costume designs here also seem wasted, a bevy of insidious peculiars whose personalities are visualized through the designer's outfits but get edited out of the monotonous action sequences in the third act.

What seems merely to be a third - rate gig escalates into something much more sinister when they witness an act of violence backstage that they weren't meant to see.

The third act finds a mobster eventually visiting the casino, an odd choice considering that this character seems to come out of nowhere to play a pivotal role.

Bizarrely though, all of this seems to be left behind during the second and third acts.

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.

The movie is funny in a warm, fuzzy way, and it has a splendidly satisfactory ending, which is unusual for an Albert Brooks film (his inspiration in his earlier films is bright but seems to wear thin toward the third act).

Unfairly ignored in a world of two hour comedies that don't seem to do much or say anything worth quoting, 30 Minutes Or Less isn't an all - time classic but it is a consistently entertaining escapade with a cracking third act and a great cast all game to play their parts properly.

But there is a certain point in the third act when the film takes a turn that seems to betray the story it had been telling so far.

Writer / director Sebastian Silva lulls us into the comfort zone of a «friends» story and then stuns us with a third act that could seem out - of - the - blue, if one weren't paying close attention along the way.

Essentially The Ice Storm's most traceable influence after the novel on which it was based (both films share a train - platform sequence, a holiday setting, kids of accelerated maturity, a third - act shindig (where swinging seems inevitable, if not encouraged), and, of course, a philandering protagonist), Loving has real integrity embedded in its modest execution.

Giving flesh and blood to the idea that life goes on even when it no longer seems worth living, «Manchester» may be too sprawling a vision for all arthouse tastes, but Lonergan's many champions are scarcely the only viewers who will be stirred by this superbly grounded and acted third effort.»

Rear - channel activity is much more fevered if no less utilitarian; they could've really capitalized on those flying - disc weapons, which have the misfortune to arrive in the third act, when the mix itself starts to seem a little slapdash.

The only reason this did not crack my top ten is that the ending is far too abrupt and seems to cut about 20 - 30 min off the third act.

What seems to be a third - rate gig escalates into something sinister when the band witnesses an act of violence backstage.

For some reason acting always seems to come second in the horror genre... or third or fourth and sometimes not even at all.

The third act really picks up interest and the satire sharpens at the end, but compared to a social commentary like «Network,» «The King of Comedy» still seems lacking.

The film plays it coy with the details, until the various pieces of its puzzle come together in the third act, as the brothers to explore even stranger things — a dead body and its living counterpart existing side by side, a grisly scene in a tent that repeats itself every few seconds, even more visual hints left by an entity that seems to see everything.

The borderline breakneck pace only becomes a hurdle in the film's last ten minutes, when multiple threads seem set up for third - act payoffs and hastily abandoned for the sake of wrapping this puppy up.

The pointlessness of the project becomes painfully evident in the third act, when we are treated to a plot twist that seems thrown in to divert us from the fact that the older woman - younger man relationship offers nothing in the way of insight.

The overlong running time - coupled with Douglas» inability to move things along at a brisk clip - effectively drains the tension from some of the movie's more outwardly suspenseful moments (ie Braden's mission, which occupies much of the third act, seems to occur in real - time, which certainly dilutes its impact), ensuring that Up Periscope remains strangely uninvolving throughout its 111 minutes.

The battle for Wakanda seemed to be happening in the third act, and we could see right here that Thanos had only two Infinity Stones.

The two seem to share a creative DNA in the intense self - awareness of their storytelling — Gleeson at one point expressly refers to a «third - act revelation» — but «Calvary» has a humane compassion that the films of Martin McDonagh keep more buried.

It seems that the third act of the movie needs some work and the reshoots are expected to cost under $ 10 million.

An attempt at a plot involving time travel occurs in the third act, but Goldsman doesn't seem to understand the rules that come with using such a story device; when one character's past self dies, the future incarnation inexplicably lives on.

But this version definitely begins to wear down in its third act, with a perpetually flaming compound that never seems to burn down, the action devolving into a dreary carousel of slaughter.

The plot also seems to lose direction after the initial exposition, settles into clichés and unconvincingly meanders towards a third - act resolution.

The new state assessments (along with old standards like the SAT, ACT, and AP credits) are diagnostic enough, it seems to me, to have real explanatory power, offering answers to such questions as «Why do only a third of young Americans complete four year college degrees?»

In reality, the transmission just acts as a torque selector: Calm getaways are easy in third, and long burnouts seem entirely possible in first.

The third act shift after what seems like a huge build up to the «big» crime is in my opinion one of the games huge strengths.

Brutal Legend was good, but didn't sell as well as anyone hoped (and honestly, was missing it's third Act - it seems pretty obvious there should have been a series of Deviculous levels rather than one last mission).

It also seems the rumours are true and Google intends to make Home act as a third - party device compatible smart home hub, similar to Amazon's Echo.

While the mobile app seems like little more than a file explorer, the desktop app adds the ability to sync files between a folder on your desktop and the Synology NAS, which acts like a personal Dropbox account for those who don't want to share their data with a third party.

In our compassionate act, we seemed to have moved up together on what Jonathan Haidt has called the third dimension of social cognition, that of divinity.