The essence of what evil complies to in modern times sometimes directly involves correlation to way of life but also what it means to rule and protect. While the sequel “Maleficent: Mistress Of Evil” addresses this idea, it does so almost in a superficial way, both to appeal to wide audiences, have a distinctive female empowerment theme but also to build the texture of the Maleficent myth without really changing. The weird irony bakes in the idea of conventional happiness. The idea here revolves around what Aurora (played by Elle Fanning) actually wants. She wants to fall in love but must understand as Queen Of The Moors, she has a responsibility to protect them. She seems concerned but there is never any dire loss on her part that feels at all real. At one point, the possibility could verge on a sort of genocide but it is glossed over in a way, albeit this has to be cohesive for all audiences from the Disney perspective.
Angelina Jolie is radiant as Maleficent but most of the time it is very hard for her to emote from behind the altered make up and the contact lenses. There is so much more possibility and as the film progresses her, as expected, through a sense of rage. You can see the sadness in the character but it is never inexplicably brought out, which is not Jolie’s fault, it is the nature of the character. Maleficent, as a character, is undeniably defensive and hot headed which may cause her to act out of terms of fear when she has all the power. Like Captain Marvel, it at times can be hard to root for a character who almost cannot lose. That is why part of the progression here works but doesn’t take it to the nth degree possible.
The other side of the coin is brought the Queen character as played by Michelle Pfieffer. This is the most brazen character she has played in years but despite some deliciousness that brings to mind “Batman Returns”, it is not nuanced enough or motivated with enough concrete factors. This is likely not Pfieffer’s fault but an overall problem in terms perhaps of direction and a light script built to showcase effects. Something like Endgame or even Alice In Wonderland can pull at the heartstrings. That effort is surprisingly empty here. There is no sense of loss or bewilderment. The CG actually takes away when the base story is solid enough but become periphery when it is trying to handle too much else. Pfieffer’s character says she acts the way she does for the good of the kingdom but many times it simply comes off as vengeful and not strategic. If the standard sets true to do an action for the love of family, her motivations simply becomes a selfish act, and it belies any important value is under it.
As the lead per se in Elle Fanning, the diversity that she showed in something like “The Neon Demon”( granted this movie is utterly different and 180 tone) is missing here. Again this might be more just a script or direction problem but the essence of a Disney princess in the modern times is to be reflective both of old and new. And while Aurora voices her displeasure at conforming to norms, she easily leaves her people which is something Maleficent also does so the progression of thought seems a bit skewed.
There is also a subplot about Maleficent’s kind and her place in their mythology. This plays nice and well but is more set up to be the flash point of a later plot specific device. Chiwetel Ejiofor in a sense is the only character both on the Moor and human side who relays the texture of what is being fought for. He, likely on purpose, tries to underplay it. Jolie, at times, tries to play back but it is hard within the make up. The most telling of all the scenes is when Maleficent is alone and vulnerable not knowing what she is without the regal robes. Jolie’s styled black hair looks more like a siren hanging off of Elfin ears and it really gives a distinct different impression and a different view into the character. However, this is short lived.
Ultimately, “Maleficent: Mistress Of Evil” is keying into a powerful IP but also trying to keep itself within a certain confine of plot structure, effects, pliability and other textures without either offending or going too dark in worry of losing the audience. What ends up happening is characters in a fantastical world who are not quite archetypal but are also not fully fleshed out to the potential of their possible luminosity and dimension.
By Tim Wassberg
The idea of what memory constitutes or the idea of trauma reflects in the psychology of a person and their experiences. This is the basis of “Fractured“. The beauty is some of the Netflix original films, whether acquired or not, is that they explore sometimes more character driven pieces that are based in a simple genre structures that don’t need a lot of set pieces but definitely reflect in production value and a proven actor. Sam Worthington, undeniably known as the lead in “Avatar” and its upcoming sequels, has leaned into these types of psychological genre thrillers on Netflix and found a nice niche in well written and well directed tomes that might have ended up with no distribution simply because they exist in the mid-range.
Directed by Brad Anderson, who made a more bleak but similar “Session 9” with David Caruso many years ago, the film “Fractured” exists in a realm of misperception where Worthington’s lead character arrives with his wife and daughter after an accident. However, after said wife and daughter are taken back for a CAT scan, they seemingly disappear. Worthington has always had a knack of playing paranoia as his film “Man On A Ledge” interpreted. “Fractured” at times plays more like a Hitchcock film or a “Twilight Zone” episode with a little less dread. The threads are fairly easy to follow and the violence not too overwhelming which makes for an interesting evening watch that is not too overcome by any ideals that it is trying to present.
The minimal locations and barrenness of the tundra that they are traveling across is completely reflective of the character’s mindset. The story is disjointed on purpose but the structural reflexivity does make the story move without bogging it down in too many mechanics. “Fractured” is a tight little genre thriller with understated performances but a steady idea of what it is and what it is trying to accomplish.
By Tim Wassberg
Making a novel into a book is about understanding who the perception of the film is based towards. “The Goldfinch” is very clear about this and the hyperfocus of a boy who goes through a tragedy. The story is told with aplomb in many ways. The movie plods along with the essence of a late 70s movie but at times seems to forget what it is serving and, at others, seems laser focused. Director John Crowley, who also directed the rich “Brooklyn” which starred Domnhall Gleeson and Soarise Ronan, does an apt job here with reservations.
“Brooklyn”, like “The Goldfinch” does no feel the need to move to satisfy people’s current tastes. The movie is not so much a thriller or a mystery which some of the trailers might claim it to be. It is a basic character story…maybe one that would have been better served by a limited television series. But movies are meant to be seen in many ways on the big screen since certain actors can shine in ways that are different in other mediums.
This film is truly that of Oakes Fegley who plays the young Theo (played by Angel Elgort in the later scenes). Fegley conveys a sense of dread and lost childhood. His possession of a certain artifact after a tragedy is what connects the movie. While the grief and emotional pull of his acting is not overwhelming, it is palpable especially when he is inside the house of Nicole Kidman or hanging out with his Russian school friend on the edge of society in Las Vegas.
Nicole Kidman takes a small role as his caregiver and surrogate mother at two points in his life. Even though her character doesn’t have a whole ton to do, Kidman is undeniably effective as the mother who is in control and yet not, compassionate and yet poised, happy and yet sad. It reminds me in certain ways of Kidman in “The Hours” or Julianne Moore in “Far From Heaven” though those are still better performances. But she is understated here.
The true waste of the film since she has a role that could been played by anyone is that of Sarah Paulson. As an audience member it is undeniable to know what she is capable of. Maybe she wanted to work with the director but her talent is just barely touched in this as the Las Vegas girlfriend of Theo’s dad (overplayed a bit by Luke Wilson).
The only one who seems to get a more fully formed structure is Geoffrey Wright as a antiques dealer who suffers a loss but also offers an unfettered kindness to the victims. Geoffrey hasn’t had a chance to play such soul in a long while. You can see the emotional hurt pouring through him.
Ansel Elgort as the older Theo takes on a quieter role than he is know for. The acting again is solid but not transcendent and while the movie undeniably has to move to its end with a certain determination, its resolution is simply satisfactory yet still fulfilling. The music adds just the right amount of melodrama without overstating and Robert Richardson’s cinematography is understated and yet luscious at the same time. John Crowley as with “Brooklyn” shows that he is an apt director but is not catering to anybody’s notion of pace. While that may make the movie slow, it does not make it any less of a well made movie. It is just not as greater as maybe it wants to be. It comes off as a effective adaptation of a book, one that is very cognizant of not losing its identity along the way.
By Tim Wassberg