Sentences with phrase «third act turns»

Passengers has been heavily - criticized for its third act turns and twists, but its original screenplay had a darker, yet less confused finale.

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.

Not exact matches

Like night - club hypnotists, e-commerce brands like Casper and Endy have persuaded consumers to perform an unthinkable act — order a mattress online, sight unseen, despite it being where they will spend a third of their lives for years to come — and turned another industry on its head.

I'm learning to turn towards a third way: the one that holds both the joy and the sorrow, the one that picks up a small stone to move the mountain in small acts of faithfulness.

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.

But it also pointed the way forward for Marvel, which was going to start seriously questioning its heroes» plans and power — at least until the third act, when everything would turn into yet another battle between good and evil.

Once the covetous pair realize the true explanation, they turn on Mary and insist that she reveal where she found the Witch's Flower, sparking a big finale in which they kidnap Peter and attempt to transform him into the kind of malevolent shape - shifter so often encountered in the third act of anime films (such as «Akira's» all - consuming atomic mass).

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.

What it accomplishes in its third season is a triumph of concept, entertainment, provocation, cinema, acting, and often even fun that trumps any and all genre - and content - related turn - offs.

But one of the most lasting images from Half - Blood Prince should be the introduction of the inferi, a swarm of undead creatures who guard an item that Harry very much needs to defeat Voldermort and who will turn up in the movie's third act.

The first half of the movie is not that great, filled with way too much bad acting, including that of the lead actors, but once things get going in the end of the second and into the third acts, the film turns into a pretty decent revenge flick.

However, it's in the third act that the film threatens to lose the audience, taking an intriguing but disappointing turn toward the metafictional.

Fans» first impression of the character was intensely positive, and T'Challa proved to be a turning point in the film's third act.

Every significant plot turn and character decision takes place on a screen within a screen, delivered as spin or as subterfuge — Katniss's «If we burn, you burn with us» speech, a game - changing twist from Peeta, a face - off between Snow and Katniss, some dark exposition for Sam Claflin's Finnick, even a third act rescue mission.

Written by aviator - turned - author John Monk Saunders (of Wings and The Dawn Patrol fame) and directed by German émigré William Dieterle, the film lacks a strong central personality and mostly meanders through the middle but that easy rhythm and directionless story defines their whole situation and sets up the devastating third act, where the group travels to Lisbon for the bullfights.

There's a few twists and turns before the third act introduces something new, but by and large, we just are watching them face off, deciding who is telling the truth.

What it turned out to be is two - thirds of a really good movie burdened with a messy and interminable final act.

The third act also gets incredibly self - righteous and turns into a whole preachy affair on ethics and morals.

A third - act turn into mystery territory at least gives audiences something to latch on to, that of a mother's devotion to discovering the truth about her missing daughter, but it's far too little too late and the lack of genuine development in their characters makes the stakes significently dim.

While it hasn't aged as gracefully as I'd hoped in recent years, I still regard it as one of my favorite childhood movies because of its great character dynamics and clever Looney Tunes-esque humor, but perhaps its biggest strength was the surprisingly mature turn the movie took in the third act.

They do give hints of potential trip - ups and characters that could ultimately collapse the entire heist, like Bang's idiot country brothers that actually turn out to be smart, but they joyfully leave you hanging / hankering for the third act for resolution, which you get.

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.

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.

Then, we get to the third act and things take a deeply emotional turn.

While there are some undeniably astonishing sequences — the indiscriminate sunlight chasing Capa and Kaneda on a space walk is as good an astronaut heart - thumper as you're likely to see — a third act twist might turn some off.

After five years of acting and activism, including star turns in Hidden Figures and the Oscar winning Moonlight, Monáe's third official full - length offering, Dirty Computer, arrives in glorious widescreen technicolor.

The third act plot turn which blights La Piscine is beautifully handled in A Bigger Splash, with the picture's operatic structure, along with Guadagnino's irrepressible flair for high melodrama, amplifying the sensory impact.

BEST SCENE: It essentially turns this movie into a video game, but the third act shootout provides the bang bang spectacle one wants from a movie exactly like Gangster Squad.

Luke doesn't just take, take, take until he hits a formulaic turning point that kicks off the third act of the film.

Unfortunately, Egoyan allows his film to take a melodramatic, third - act turn that extinguishes much of the tension he so successfully builds in the first half of the movie.

Then there's Leonard, who is most unnerving, his vaguely familiar presence slowly building to the level of sinister called for by the movie's stomach - turning third act.

Until the time is right for Rachel to face the issue head - on — that is, the third act home stretch — Nakata and Kruger buy time by introducing a nominal male lead (Simon Baker) even more bland and useless than the original's Martin Henderson, enlisting recognizable faces such as Elizabeth Perkins and Sissy Spacek to do showy cameo turns, and — above all else — throwing in a lot of literally splashy water effects.

This turns out to be an appropriate fit for the material, however, as the movie is often genuinely hilarious; it's also worth noting that the expectedly dramatic third - act developments (including that darned fake break - up) are subsequently not as jarring as they could've been.

Oscar, who initially tries to provide Gloria with the support she's missing in her life, takes a hard - right turn into mean - spirited lunatic somewhere near the third act that doesn't add up.

Neal McDonough is entertaining enough as a charming, bemused American security agent chasing down Frank, and Anthony Hopkins channels just enough Hannibal Lecter to make his kooky, doddering scientist character fun (until a third - act twist just turns him sort of evil).

An unfortunate turn toward violence pops the urban fairytale bubble, and an obnoxiously pandering third act drags «The Cobbler» down to the level of «Just Go With It» or «Jack & Jill.»

It largely avoids schmaltz until the third act (when it wallows in it), and if its conclusion borders on the implausible, sliding into the ridiculous, Hart's War provides easy causes to champion, nice turns by Farrell and Hauser, and enough cleverly framed set - pieces to ease the pain of its predictability and hamfistedness.

Where Corbijn missteps is pacing what turns out to be a rather spare plot — the story idles a bit in the third act.

Get Out turns out to be more fun, and more provocative, than it is scary, at least in the traditional midnight - movie sense: The film works so well as a gauntlet of social horror that Peele almost didn't need the more traditional thriller elements he introduces in the third act, when a carefully calibrated build in just - because - you're - paranoid dread gives way to some disappointingly conventional survival games.

Since we're not waiting to see how the plot will turn out, or whether the gun in the first act will go off in the third, any momentum a sketch - comedy movie has comes from the rolling gales of laughter it provokes.

Clouds will likely be remembered for its terrific performances, but Assayas» writing and direction are what allow it to take some strangely enigmatic turns, especially in the second and third acts.

That is, until the film's third act rolls around and the plot takes an inexplicable turn into slasher territory, an act that reeks of either desperation by the screenwriter or interference by ignorant producers («the audience must be growing restless by now, how about throwing in a deranged serial killer for the astronauts to cope with as well!»)

He has a way with visceral experiences and a knack for third acts that turn into delirious, uncommon tonal atmospheric twists, it's with the Cannes Film Fest preemed and Sundance showcased Blue Ruin (2013) and Green Room (2015) where Saulnier became part of an American indie and internationalized it director.

It's hard to imagine a less exciting Lara Croft movie than what directors Simon West and Jan De Bont cooked up at the turn of the century, but «Tomb Raider» 2018 comes worryingly close — especially in its third act — distilling a routinely rousing video game franchise into its least essential cutscenes.

It was like they hadn't lost any time when they were fighting side - by - side in the third act of the movie, and of course it was Steve's name that Bucky called out just before he turned to dust.

It turns out the Kindle Fire interface — the bookshelves that act as a home screen and launch point for all activities — is basically a launcher application, and there are a number of third - party launcher apps available that allow you to «skin» an Android phone or tablet.

Thus the due diligence process undertaken by a third - party litigation funder can act as a filter to ensure that only meritorious claims are pursued, and this in turn may encourage defendants to seek a settlement.

My reasoning is that the situation are similar, as both involve a third party that acted wrong (in this case a person jumping onto the road in front of a car, compared to a car taking a sharp turn in original case), the first car managing to avoid the incident and causing no fault of his own, and the last car in line not able to avoid the accident because of not maintaining safe distance.