Let’s be honest. It is very rare to have successful movie trilogies or a solid third installment. Third time is rarely (if not ever) the charm in movies with plenty of examples demonstrating that strong beginnings and superior sequels will be systematically let down by boring, sometimes even irrelevant threequels which smash the goodwill and pitch perfect endings of their predecessors (e.g., “Alien 3” (1990)).

The overwhelming majority of third chapters lack love for the source material and a clear goal (e.g., “Rambo 3” (1990), “Scream 3” (2000), “Terminator 3: Rise of the Machines” (2003)), fan appreciation (e.g., “Jaws 3D” (1983)), and in a few occasions, bear a wrap-it-up sense (e.g., “The Matrix Revolutions” (2003), “The Conjuring: The Devil Made Me Do It” (2021)). Yet, across the desolate cinematic landscape, some results fare better than you expect, others are just about right and very rarely, the finale might have the capacity of being the best. This article will showcase the best of the third entries in movie franchises.

10. A Nightmare on Elm Street: Dream Warriors (1987)

Things did not look good after the disappointing and ill-conceived “Freddy’s Revenge” (1985) for cinema’s favorite boogeyman. Yet, the return of Wes Craven back as a screenwriter offered a much needed energy boost to the now tired formula of the dreamy slasher. Taking cues from role playing games, Freddy is squaring off against insomniac teens who have special powers should they choose not to be afraid. Despite some rough performances (e.g., Patricia Arquette) and a departure from otherworldly terror, “Dream Warriors” marks the returns of fan favorites Heather Langenkamp and John Saxon, inventive (and freaky) make up effects, a kick ass opening theme from Dokken and plenty of catchy one liners (e.g., “Welcome to Primetime, bitch!“) which unfortunately will confine Freddy in the later installments as a threatless quip machine. Its influence has been undeniable though with some cinephiles listing this even higher than the original.

9. Die Hard with a Vengeance (1995)

Although “Die Hard 2” (1990) was a big commercial and critical success, you could not help but sense that it was basically the first movie playing out on a larger setting (i.e., an airport) during the Christmas holidays against another villainous group. So it was logical to change the formula in “Die Hard with a Vengeance”. With ties back to the original film and a cool sidekick in the form of the always reliable Samuel L. Jackson, the story is more personal and involves higher stakes. A game of “Simon Says” scattered throughout iconic NYC locations paves the way for well executed shoot outs, car chases and one on one fights which become more absurd as we reach the explosive finale. However, Jeremy Iron’s gleeful villainous turn (who does not love a European bad guy after all?), some cool pyrotechnics and witty one liners make this the last movie respecting the limits of what John McClane’s once vulnerable and outnumbered character can do.

8. The Godfather Part III (1990)

Time has indeed being kind to Francis Ford Coppola’s third part in his “Godfather” saga (1972-1990). While the inclusion of Sofia Coppola almost grinds the proceedings to a halt as the now famous director in her own right cannot act at all (e.g., “Daddy?”), there are plenty of yes! Oscar worthy things to admire throughout its lengthy running time. Al Pacino carries the entire film in his shoulders as the tired crime patriarch supported by an excellent cast, and a strong turn from Andi Garcia. Coppola waves effortlessly the threads of retirement, honor and corruption the same way he did in his previous two masterpieces although there is a slight lack of visceral/vicious moments that cemented its predecessors into the pantheon of global pop culture. If only an actress with exquisite emotional depth could portray Corleone’s daughter, THAT finale would have hit a lot harder. Sell your soul to the devil and you will pay the price when you do not expect it.

7. Army of Darkness (1992)

Deviating from the horror aspect of the first two “evils”, “Army of Darkness” embraces an almost Looney Tunes vibe much to the dismay of gore hounds. Ash has now time travelled in medieval England fighting an army of the undead but not before he unleashes several memorable quips, engaged into borderline slapstick set pieces, chainsaw and boomstick in hand. Boasted by Bruce Campbell’s glorious, charismatic and pitch perfect performance as Ashley Williams, “Army of Darkness” might not be the nightmare fuel material that the horror genre deserved but it is a wacky ride unlike no other. Sam Raimi clearly has a blast, the generous production budget offering him the opportunity to mix together all types of filmmaking techniques around his cartoonesque main hero and his creative way of dispatching deadites. “Groovy!”.

6. The Exorcist III (1990)

Following one of the most disastrous sequels of all time and 27 years since the original, you could say that not many were keen for “The Exorcist III”, directed by the original’s author and based on his 1983 book “Legion”. During the later half of the 2010 decade, “The Exorcist III” begun to receive some recognition for its meticulous focus on the psychological torment of a deeply flawed character as opposed to full blown demonic horror and shock tactics. Blatty demonstrates his memorable directional abilities and a remarkable restrain to cheap genre methods. Featuring one of the most shocking jump scares in movie history and a meaningful relationship between two older men, “Exorcist III“ can be seen as an extension of the original and not as a competitor closing nicely the infamous tale of Pazuzu.

5. John Wick Chapter 3: Parabellum (2019)

Three films in and John Wick does not seem to have lost any of his unique cinematic charm or identity. In fact, director Chad Stahelski and franchise creator Derek Kolstad keep putting the stoic assassin into outrageous set pieces that never overstay their welcome. At the same time they offer a meaningful expansion of the intriguing and established mythology around this shadowy world of assassins through a … killer supporting cast while they keep inventing novel ways to stage aggressive gun fu and jiujitsu fights on unique locations. Keanu Reeves gives it all in his now most famous role since Neo, pushing himself to perform breathtaking stunts and martial art sequences with zero CGI. All these under the Oscar worthy, hyperstylised cinematography of Dan Laustsen. Who said third time was not the charm?

4. Lord of the Rings: The Return of the King (2003)

Peter Jackson’s swelling epic fantasy adventure closed successfully one of the most well known tales to ever grace the big screen. Regarded as the best of the three films, “The Return of the King” packs several beautiful moments, and copious amounts of pathos and love for the enduring odyssey of its characters, each one getting the send off they so rightfully deserve after all this time. The extended version restores much of the subtler moments amidst all the Orc infested battles fleshing out more of the emotional impact this journey to Middle Earth bears under the superb score of Howard Shore. Although Jackson occasionally relies too much on CGI, his visual representation of the numerous skirmishes with Sauron’s forces in this imaginary world remains a cinema highlight to this day where increased production budgets and more sophisticated effects are available. Just look at “The Hobbit” (2012-2014) trilogy to see the difference.

3. Star Wars Episode VI: Return of the Jedi (1983)

Coming hot from the “The Lord of the Rings” (2001-2003) trilogy, another “return” closed satisfyingly a different genre saga: a space opera. “Return of the Jedi” might not have the shock value of its predecessor or its bleakness but boasts more iconic set pieces, designs (e.g., Leia’s costume), villains and locations. There are Ewoks involved sure but these serve as a clever metaphor for nature’s might. For a third chapter, George Lucas really let his imagination run wild bolstered by state of the art effects that brought to life Jabba the Hutt, the incomplete Death Star and the speeder forest chase. With three battles in the price of one, it has the most spectacle in the original trilogy while the duel between Luke and Vader is a testament to old school storytelling packing an emotional beat that is elevated by John Williams’ grandiose score. Extra points for Ian McDiarmid’s iconic, unnerving and Yoda’s polar opposite Emperor Palpatine dominating the screen with theatrical gusto.

2. The Good, the Bad, the Ugly (1968)

Sergio Leone’s third entry in his spaghetti western trilogy is nothing sort of monumental serving ingeniously as a prequel to “A Fistful of Dollars” (1964). Every cinematic ingredient is perfect in a landmark motion picture that influenced films of all caliber and type (e.g., ”The Good, the Bad, and the Weird” (2008), “Django Unchained“ (2012), “John Wick” (2014-2023)). The camera shots (i.e., THOSE close ups), the climatic duel, the one liners, the visual storytelling, the lack of exposition, the sheer scale of the Wild West inspired production design, the stunts and the top notch cinematography are all flawless. Yet Leone does not forget to give meaning to his story without leaning too much in the brutality of the civil war while extracting all time iconic performances from his trio: Eastwood, Van Cliff and (especially) Wallach. And then there is the music. Ennio Morricone’s score is wildly regarded as the best music ever recorded for a film in human history rightfully so.

1. Star Wars Episode III: Revenge of the Sith (2005)

Yes, “Episode III” is not only a worthy closing chapter of the prequel trilogy but easily the best “Star Wars” film. Nothing sort of spectacular and echoing emotions stemming from a Greek tragedy, George Lucas did not hold back his vision for the rise of Darth Vader and the fall of the Republic. With improved performances from all the cast members, Christensen really sells the complex dilemma between a life of simplicity and an impulsive thirst for power guided by the MVP here in the form of Ian McDiarmid’s Palpatine. State of the art digital effects bring a lot of galactic action on the big screen in stunning detail culminating in the most personal finale in “Star Wars”: the duel in Mustafar’s lava plains that crescents in a highly emotional pay off after three movies and heavy political intrigue in order to make way for “A New Hope” (1977). Not an easy feat to pull off. And John Williams is at a creative peak tying thematically both the original and the prequel trilogy into a masterpiece of audio storytelling. What’s not to like?