Psynema
Well-known member
One of my pet peeves is third acts that wrap up the story a bit too quickly and are somewhat anti climatic. As a screenwriter will attest, it can be one of the most frustrating things to conjure up as well. Any movie with a great third act just always jumps out to me, even if I hated the first hour or so - what's everyone's favs?
Rear Window - not just for the suspense, but makes great use of character and the deeper meaning of the film - love how Grace Kelly went in the apartment just to prove herself to Jeff, yet it is he who is the powerless/feeble one in the end. Pefect end to a film that was methodically slow leading up to that point, perfect setup and conclusion.
M - Loved the intro, was starting to lose interest in the middle - especially during the scenes where there's no soundtrack whatsoever when I first saw this. Probably one of the most intense and philosophical third acts out there and completely won me over.
Mulholland Drive - frankly I like Lynch and greatly appreciate him as a much needed anomaly in mainstream cinema. I wanted to like Mulholland Drive, but was slowly starting to hate while watching it, until the third act wrapped everything up perfectly - what I thought was a hokey, almost soap opera like first 90 minutes with shallow and unlikeable characters (or so it seemed at first) turned into a complex exploration of character and never thought the last 30 minutes would completely change what I thought I saw beforehand. I know most of his films follow similar molds, but Mulholland Drive was different - the plot was not distorted or confusing compared to Lost Highway or Twin Peaks, but Lynch used his creativity, not on plot for MD, but moreso for character and her motivations compared to previous films. My second favorite Lynch film and sadly underrated. I do think it needs to be trimmed, by as much as 30 minutes during the first 3/4 of the film, which I think, if done, would've given it much more mainstream appeal.
Barton Fink - for similar reasons to Mulholland Drive - seems like a stereotypical Coen Film, with quirky characters, then the ending comes out of nowhere, forces you to think and rewatch what you just saw, and it all adds up to one of their deepest character portrayals. Almost reminds me of Eraserhead, and oddly enough, there's actually a small cult of Fink/Lynch fans who feel the same way - and I thought I was nuts thinking this.
Rear Window - not just for the suspense, but makes great use of character and the deeper meaning of the film - love how Grace Kelly went in the apartment just to prove herself to Jeff, yet it is he who is the powerless/feeble one in the end. Pefect end to a film that was methodically slow leading up to that point, perfect setup and conclusion.
M - Loved the intro, was starting to lose interest in the middle - especially during the scenes where there's no soundtrack whatsoever when I first saw this. Probably one of the most intense and philosophical third acts out there and completely won me over.
Mulholland Drive - frankly I like Lynch and greatly appreciate him as a much needed anomaly in mainstream cinema. I wanted to like Mulholland Drive, but was slowly starting to hate while watching it, until the third act wrapped everything up perfectly - what I thought was a hokey, almost soap opera like first 90 minutes with shallow and unlikeable characters (or so it seemed at first) turned into a complex exploration of character and never thought the last 30 minutes would completely change what I thought I saw beforehand. I know most of his films follow similar molds, but Mulholland Drive was different - the plot was not distorted or confusing compared to Lost Highway or Twin Peaks, but Lynch used his creativity, not on plot for MD, but moreso for character and her motivations compared to previous films. My second favorite Lynch film and sadly underrated. I do think it needs to be trimmed, by as much as 30 minutes during the first 3/4 of the film, which I think, if done, would've given it much more mainstream appeal.
Barton Fink - for similar reasons to Mulholland Drive - seems like a stereotypical Coen Film, with quirky characters, then the ending comes out of nowhere, forces you to think and rewatch what you just saw, and it all adds up to one of their deepest character portrayals. Almost reminds me of Eraserhead, and oddly enough, there's actually a small cult of Fink/Lynch fans who feel the same way - and I thought I was nuts thinking this.
