Momentum is one of the most important components of any story – different scenes operate at different tempos, and finding the right balance between exposure, climax and resolution is essential in order to hold attention. (and interest) of the public.
A well-constructed story knows exactly when to adjust its narrative speed, which others often miscalculate. There is, however, a small subset of movies with perfect pacing for most of their lengths, but which tend to rush their conclusions. It’s especially baffling when the films treat everything with careful deliberation, only to end in a hurry and without caring about viewers’ expectations.
ten Fury (2014) – Many viewers were disturbed by its insanely incredible resolution
Fury was praised for her incredible gameplay and accurate depiction of war, with critics claiming she avoided the “sanitized prospect that infiltrated many. [earlier] war films. “
The film balanced the human and visceral aspects of the battle, knitting them into a believable plot. Although technically remarkable, FuryThe dramatically incredible resolution bothered many viewers, despite the intensity of the movie’s climax.
9 Law Abiding Citizen (2009) – The last few minutes are riddled with inconsistencies
Law abiding citizen was not very well received by critics, with the exception of Roger Ebert who said it was “the kind of movie you will like more then than in retrospect”. The box office results told an entirely different story, proving that audiences enjoyed the film much more than their critical counterparts.
A few fans appreciated the limits on the film’s over-vigilantism, but others complained about the various plot holes that developed over the last few minutes of action in Law abiding citizen.
8 Lucy (2014) – Loses the power of her first two arcs before the climax unfolds
Lucy mixes sci-fi with “cheesy chills plus Scarlett Johansson charm,” succeeding in several ways and missing the point with others. The story pays homage to various science fiction classics without getting lost in self-satire, gaining positive comparisons with The matrix (1999) and 2001: A Space Odyssey (1968).
On the other hand, the power contained in LucyThe first two arcs dissipate around the climax of the film, eventually cutting through seemingly wacky territory at the end. Explosions of light and balls of wine-black ferrofluid pouring out of the protagonist’s robot body do nothing more for the story than looking fabulous.
7 Die Hard With A Vengeance (1995) – A biting action capped by an incongruous conclusion
Die hard with revenge is an over-the-top action flick, building on its two prequels with incredibly forceful shows that leave audiences breathless with anticipation.
The performances of Bruce Willis, Jeremy Irons, and Samuel L. Jackson are key to the film’s popularity, although it is generally considered weaker than Die hard (1988). Unfortunately, Die hard with revenge crowns its biting action sequences with an incongruous ending. That said, the film’s alternate conclusion is drastically different from the original.
6 Hancock (2008) – Messing up his premise long before the end
HancockThe so-called “shaky tale and poor execution” is often contrasted with its compelling beginnings, with the Hollywood Reporter stating that “the film fell apart when it began to alternate between comedy and tragedy.”
While some viewers loved it HancockOne of the film’s many flaws is its emotional versatility, and its unpredictable plot twist, the jarring change of tone in the second arc. In reality, Hancock wastes its premise long before the end is in sight.
5 Savages (2012) – The film makes an implausible change to the novel’s conclusion
Savages got extremely mixed reviews on release, with critics criticizing it for being a “hot mess… that turns into a rehearsal festival” and praising Oliver Stone’s directorial compass in equal measure. The film was reasonably praised by viewers, especially for its grim, dystopian visualization of the Mexican cartels.
However, Savages departs considerably from its macabre book ending (written by Don Winslow) by making it incredibly enjoyable. The fact that the protagonists do not know a macabre fate takes away the original intention of the author.
4 Alien 3 (1992) – The weak final arc was the result of artistic differences
Alien 3 is an exceptional achievement … if we only consider the first half. First-time director David Fincher’s conflicted relationship with 20th Century Fox resulted in the film’s steep downward trend, most evident in the almost unrealistic conception given to Runner Xenomorph.
Roger Ebert stated that Alien 3 was “one of the finest bad movies” he had ever seen, an analysis that rings even more true in the conclusion. Thankfully, Assembly Cut manages to restore some semblance of narrative dignity to the metaphorical black sheep of a legendary franchise.
3 War Of The Worlds (2005) – Aliens Are Killed By Pathogenic Bacteria
Adapting a flagship piece of science fiction isn’t a very easy task, but it’s nothing director Steven Spielberg can’t handle. War of the Worlds is extremely sensitive in its portrayal of events as it focuses as much on the CGI fireworks as it does on the ramifications that a world-ending event might have on people (and the relationships between them).
For some reasons, War of the Worlds chooses to end its thrilling action on a flat note: killing the antagonists without presenting any narrative context. The only explanation is provided by a voiceover and does not really justify the previous two hours of the film.
2 Apocalypse Now (1979) – The original version is relatively more rushed than Redux
Apocalypse now, arguably the magnum opus of veteran director Francis Ford Coppola, is considered one of the best films ever made. His view of the Vietnam War through the prism of human nature, prone to errors, is inspired by that of Joseph Conrad. Heart of darkness.
Apocalypse now has undergone two major revisions, Redux and Final cut, both of which include additional footage and attempted to rearrange the hasty conclusion of the original cut.
1 Looper (2012) – Joe’s sacrifice could have been avoided
that of Rian Johnson Curler is a stunning reiteration of the time travel trope. Time magazine called him a “hybrid, crushing Quentin Tarantino and Philip K. Dick into some sort of pulp science fiction.” Much of the film’s strength lies in the interplay between the two versions of Joe (Bruce Willis and Joseph Gordon-Levitt), although the intricacies of CurlerThe time travel mechanics are not to be laughed at either.
The film ends with the suicide of young Joe, convinced that his sacrifice would prevent little Cid from becoming a dangerous villain known as Rainmaker, but he might as well have kept the boy safe by becoming a father figure in the movie. life of Cid.
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