For a fantasy film, Mistress Of Evil really struggles to seem all that fantastical

Maleficent: Mistress Of Evil’s most irritating issue revolves around it’s inability to express itself. So much of what it does, tries to do and acts as, is just generic film making, and when the topic at hand is a spin-off with a wild personality, the feature needs to live up to the setting’s unique nature.

Maleficent (Angelina Jolie) wakes up to discover her adopted daughter, Aurora (Elle Fanning) – Queen Of The Moors, is to wed Prince Philip (Harris Dickinson) of Ulstead. Horrified, Maleficent refuses to engage with her nearest neighbours, but after coming round to Aurora’s wishes, she agrees to meet the royals of Ulstead in their castle. However, after tempers flare, Maleficent is painted as a villain once again, and cast away, even by her own daughter.

Maleficent 2

With too much effort placed into flexing it’s wingspan with CGI beasts and an enormous battle, which it has to set up entirely within the film, Mistress Of Evil is clearly a benefactor of classic Hollywood overproduction. Battles this large are never the beasts the writers nor director want them to be, unless your film is called Lord Of The Rings (or something of that ilk), leaving behind a lacklustre war that just isn’t encompassing, involving or exciting.

The performances don’t evoke anything else from the title, and for a fantasy film, Mistress Of Evil really struggles to seem all that fantastical. Bogged down by its state politics and its need for so many pieces to slot into place, there’s little to distinguish this from all the other family dramas that Mistress Of Evil was meant to be so different from.


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