In an era of movie redundancy and repetition, I suppose it’s pointless to question why we need a new, variant telling of Sleeping Beauty, based on the 1959 Walt Disney animated feature. In any case, the studio isn’t so much selling a story as a concept: Angelina Jolie as the icily beautiful title character. She’s quite good, but the film has other assets, chief among them a lush fairy-tale world created by production designers Dylan Cole and Gary Freeman (along with an army of visual effects artists). The result is truly magical, and Maleficent easily draws us into a marvelous make-believe environment.

Elle-Fanning-Universal-485The screenplay, credited to Linda Woolverton (Disney’s Beauty and the Beast), is thoughtful and intelligent, taking a page from the Wicked playbook to explain how a peace-loving winged fairy could turn into a hate-filled villain. Jolie is a capable actress and makes the most of the role, bringing shading and subtlety to what could have been a one-dimensional portrayal. Her raven sidekick from the animated feature is depicted here as a creature named Diaval who can morph into almost anything, including a human being; he’s nicely played by Sam Riley.

Sam-Riley-A-Jolie-Frank-Connor-485A betrayal of the heart turns Maleficent into a dark spirit. I’d rather not give away any more of the story. Suffice it to say that she casts a curse on the daughter of her mortal enemy, King Stefan, from the neighboring kingdom of humans, and watches over Princess Aurora (a well-cast Elle Fanning) as she grows into adolescence.

Just when you think the characters’ issues may be happily resolved, along comes an action climax that seems arbitrary and unnecessary. There’s a lot of huffing and puffing and a killing that’s new to the famous fairy tale. No real purpose is served, and when it was over I found myself indifferent to an experience that should have been cathartic.

A.-Jolie-Frank-Connor-2-750Maleficent works best when it is expressing the simplest emotions, but the film doesn’t trust that simplicity and insists on adding spectacle to the mix. That’s a shame, because the film has so much going for it in the dynamics of its characters and the likability of its leading players.

I should add that while the film has been rated PG, young children may find many scenes quite intense—I know I did. Parents should be aware of what’s in store.

Leonard Maltin is one of the world’s most respected film critics and historians. He is best known for his widely-used reference work Leonard Maltin’s Movie Guide and its companion volume Leonard Maltin’s Classic Movie Guide, now in its third edition, as well as his thirty-year run on television’s Entertainment Tonight. He teaches at the USC School of Cinematic Arts and appears regularly on Reelz Channel and Turner Classic Movies. His books include The 151 Best Movies You’ve Never Seen, Of Mice and Magic: A History of American Animated Cartoons, The Great Movie Comedians, The Disney Films, The Art of the Cinematographer, Movie Comedy Teams, The Great American Broadcast, and Leonard Maltin’s Movie Encyclopedia. He served two terms as President of the Los Angeles Film Critics Association, is a voting member of the National Film Registry, and was appointed by the Librarian of Congress to sit on the Board of Directors of the National Film Preservation Foundation. He hosted and co-produced the popular Walt Disney Treasures DVD series and has appeared on innumerable television programs and documentaries. He has been the recipient of awards from the American Society of Cinematographers, the Telluride Film Festival, Anthology Film Archives, and San Diego’s Comic-Con International. Perhaps the pinnacle of his career was his appearance in a now-classic episode of South Park. (Or was it Carmela consulting his Movie Guide on an episode of The Sopranos?) He holds court at Follow him on Twitter and Facebook; you can also listen to him on his weekly podcast: Maltin on Movies. — [Artwork by Drew Friedman]

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April 2024