Third Person
Sony Pictures Classics | Release Date: June 20, 2014 CRITIC SCORE DISTRIBUTION
38
METASCORE
Generally unfavorable reviews based on 33 Critic Reviews
Positive:
6
Mixed:
15
Negative:
12
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Critic Reviews

Critic scorePublicationBy date
60
Total FilmPhilip KempJan 9, 2015
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. Read full review
60
The DissolveTasha RobinsonJun 19, 2014
Third Person’s considerable strengths generally come from the actors. Read full review
50
St. Louis Post-DispatchCalvin WilsonJul 10, 2014
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. Read full review
50
New York Magazine (Vulture)Bilge EbiriJun 20, 2014
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. Read full review
50
RogerEbert.comSusan WloszczynaJun 20, 2014
This layered melodrama strains for emotional impact with only occasional success while eventually blurring into an overlong and contrived parlor trick. Read full review
50
Rolling StonePeter TraversJun 19, 2014
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. Read full review
50
ObserverRex ReedJun 19, 2014
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. Read full review
50
The New YorkerDavid DenbyJun 16, 2014
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. Read full review
50
The Hollywood ReporterDeborah YoungApr 18, 2014
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. Read full review
42
Entertainment WeeklyChris NashawatyJun 19, 2014
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. Read full review
40
EmpireIan FreerNov 10, 2014
If "Crash" set your teeth on edge, book in at the dentist's before seeing this one. Read full review
40
Arizona RepublicBill GoodykoontzJul 4, 2014
Everything is overwrought, every circumstance a potential tragedy. Humor is largely absent. Read full review
40
Los Angeles TimesBetsy SharkeyJun 19, 2014
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. Read full review
40
Wall Street JournalJoe MorgensternJun 19, 2014
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. Read full review
40
Time OutJoshua RothkopfJun 17, 2014
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. Read full review
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