(2013)

Critic Reviews

38

Metascore

Based on 33 critic reviews provided by Metacritic.com
100
Third Person is Paul Haggis' best movie, and the one he has been building toward for years.
63
Haggis lets us get way ahead of the characters and the figure out what the title of this writerly tale - Third Person - has to do with the sometimes illogical connections between stories. That's not a problem. Dragging, dragging dragging the tales out after he reaches a logical climax and something close to a resolution with each is not.
63
Wonderful as it is to watch great actors delve deeply into their roles, it's a shame that the material they are delivering is just so damn confusing.
63
Third Person staggers well over the two-hour mark only to self-destruct in a burst of overwrought cleverness.
63
Haggis lets us get way ahead of the characters and the figure out what the title of this writerly tale - Third Person - has to do with the sometimes illogical connections between stories. That's not a problem. Dragging, dragging dragging the tales out after he reaches a logical climax and something close to a resolution with each is not.
60
Third Person's considerable strengths generally come from the actors.
50
The drama and intensity that are [Haggis's] signatures are mostly missing from these vividly dramatized but uninvolving romantic crises, none of which are particularly believable.
50
The revelation is Wilde. A slender beauty with high cheekbones, she makes Anna a full-fledged neurotic, candid and demanding and changeable, shifting abruptly from snuggling happiness to angry defiance.
50
Clumsy and contrived, the film never manages to connect the dots in a trio of stories set in three different cities, and I had to pinch myself to keep from falling asleep.
50
I don't like this movie. I don't like how it walks, talks, struts and sells itself. I find it contrived, tortured, humorless, infuriating and interminable. And yet if you care anything about film and the creative drive that still exists in the people who make them, then Third Person needs to be seen.
50
This layered melodrama strains for emotional impact with only occasional success while eventually blurring into an overlong and contrived parlor trick.
50
Third Person doesn't lack for ambition, and it's nice to see Neeson in the kind of role that he excelled at before he morphed into an action star.
40
It's crushing, then, that the movie's big reveal is the kind of narrative do-over that could only spring from the mind of an almighty writer in love with playing God - or with himself.
40
Wall Street Journal
Cold and clever to a fault, like the main character played by Liam Neeson, the movie is based on a fundamental miscalculation-that our desire to penetrate its mysteries will trump our need for people to care about.
38
How much of what we see in Third Person is the novelist's invention is part of the guessing game that goes on and on. And. On.
30
When the head-scratching impossibilities are more irritating than intriguing, does the last-second explanation outweigh the two hours we've spent rolling our eyes?
30
Third Person is an intricately constructed but unaffecting bore. Kinder people might call it an “interesting failure,” but to earn that label it would need to be interesting.
25
As schematic as Third Person is on a whole, it's downright risible on a moment-to-moment basis.
20
Third Person is a work of staggering trash; an ensemble drama with the aesthetic of an in-flight magazine, but less classy writing.
12
Paul Haggis' Third Person has nothing to say and spends 2 ¹/? hours not saying it. Its combination of pretentiousness, vanity and vapidity suggests Alain Resnais directing a triple episode of “Guiding Light.”
0
Third Person is an audacious failure, one that even its starry cast can't save. With a trite script, and an even more glib thematic undercurrent, Third Person is nothing short of an outright embarrassment.
0
If the glue holding Crash's arcs together was Paul Haggis's belief in the power of racism, this time it's love.

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