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Third Person

Romance . Drama

An acclaimed novelist struggles to write an analysis of love in one of three stories, each set in a different city, that detail the beginning, middle and end of a relationship.

Actors: Loan Chabanol , Katy Louise Saunders , Moran Atias , Kim Basinger , Maria Bello , Adrien Brody , Olivia Wilde , James Franco , Mila Kunis , Liam Neeson
Directors: Paul Haggis
Release: 2014-11-14
More Info:
  • Mick LaSalle

    Third Person is Paul Haggis' best movie, and the one he has been building toward for years.

    San Francisco Chronicle Full Review
  • Jeff Baker

    I came away impressed at how Haggis made something original and real.

    Portland Oregonian Full Review
  • Peter Debruge

    Though virtually every twist on this emotional roller coaster feels preordained by its architect, the director leaves certain mysteries for the audience to interpret, making for a more open-ended and mature work all around.

    Variety Full Review
  • Ty Burr

    Third Person staggers well over the two-hour mark only to self-destruct in a burst of overwrought cleverness.

    Boston Globe Full Review
  • Bill Zwecker

    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.

    Chicago Sun-Times Full Review
  • Roger Moore

    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.

    McClatchy-Tribune News Service Full Review
  • Philip Kemp

    Everything gets just too damn convoluted for its own good, and it’s hard to care what becomes of Haggis’ characters as they’re shifted around. Any one of the strands expanded alone might have worked better.

    Total Film Full Review
  • Tasha Robinson

    Third Person’s considerable strengths generally come from the actors.

    The Dissolve Full Review
  • Calvin Wilson

    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.

    St. Louis Post-Dispatch Full Review
  • Bilge Ebiri

    They make you wish Haggis would put away the Great Themes, the belabored dialogue, the forced narrative dynamics, and just figure out a way to scale down his scope and tell smaller stories. Maybe it’s not all as connected as he thinks.

    New York Magazine (Vulture) Full Review
  • Susan Wloszczyna

    This layered melodrama strains for emotional impact with only occasional success while eventually blurring into an overlong and contrived parlor trick. Full Review
  • Peter Travers

    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.

    Rolling Stone Full Review
  • Rex Reed

    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.

    New York Observer Full Review
  • David Denby

    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.

    The New Yorker Full Review
  • Deborah Young

    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.

    The Hollywood Reporter Full Review
  • Chris Nashawaty

    The three main narratives cut back and forth between New York, Paris, and Rome, which is the best thing the movie has going for it: picturesque locations. Unfortunately, by the time we're done taking in the sights and Haggis finally coughs up his third-act puzzle-box twist, it comes off as a big metaphysical So What.

    Entertainment Weekly Full Review
  • Ian Freer

    If "Crash" set your teeth on edge, book in at the dentist's before seeing this one.

    Empire Full Review
  • Bill Goodykoontz

    Everything is overwrought, every circumstance a potential tragedy. Humor is largely absent.

    Arizona Republic Full Review
  • Betsy Sharkey

    In blurring the lines between truth and fiction as well as right and wrong, Third Person maddens far more than it intrigues. Indeed, more curious than anything about the movie itself is how such an artistic stumble happened.

    Los Angeles Times Full Review
  • Joe Morgenstern

    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.

    Wall Street Journal Full Review
  • Joshua Rothkopf

    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.

    Time Out New York Full Review
  • Connie Ogle

    Derivative and self-important, Third Person is a concept and not much more, precisely the sort of film that makes you wonder why anybody would bother to see it at all.

    Miami Herald Full Review
  • Michael Phillips

    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.

    Chicago Tribune Full Review
  • Ann Hornaday

    As is true with so much of Haggis’s work, Third Person suffers from an airless, too-neat lack of connection with organic life.

    Washington Post Full Review
  • Diane Garrett

    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.

    TheWrap Full Review
  • Stephen Holden

    The storytelling is infuriatingly coy, as if Mr. Haggis were trying to fool you (and himself) into thinking that he has something to say. Third Person finds Mr. Haggis, like Mr. Neeson’s screen alter ego, running on empty.

    The New York Times Full Review
  • Amy Nicholson

    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?

    Village Voice Full Review
  • A.A. Dowd

    As schematic as Third Person is on a whole, it’s downright risible on a moment-to-moment basis.

    The A.V. Club Full Review
  • Mike Scott

    It's also deeply flawed, an emotionally exhausting film with a payoff that is limited at best, and a bit self-indulgent to boot. So while Haggis has proven himself a first-rate filmmaker and storyteller, by his standards, Third Person is little more than a second-rate effort.

    New Orleans Times-Picayune Full Review
  • Catherine Shoard

    Third Person is a work of staggering trash; an ensemble drama with the aesthetic of an in-flight magazine, but less classy writing.

    The Guardian Full Review
  • Kyle Smith

    Paul Haggis’ Third Person has nothing to say and spends 2 ¹/₂ hours not saying it. Its combination of pretentiousness, vanity and vapidity suggests Alain Resnais directing a triple episode of “Guiding Light.”

    New York Post Full Review
  • Steve Macfarlane

    If the glue holding Crash's arcs together was Paul Haggis's belief in the power of racism, this time it's love.

    Slant Magazine Full Review
  • Kevin Jagernauth

    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.

    The Playlist Full Review
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