DIR: Robert Stromberg • WRI: Linda Woolverton • PRO: Joe Roth, Scott Murray • ED: Dylan Cole, Gary Freeman • DOP. Dean Semler • DES: Chris Lebenzon, Richard Pearson • MUS: James Newton Howard • CAST: Angelina Jolie, Elle Fanning, Sharlto Copley, Sam Reilly, Imelda Staunton, Juno Temple, Lesley Manville

‘Star power’ is a curious thing these days, selling more gossip magazines than movie tickets. In an era when franchises, reboots, prequels, sequels and spin-offs dominate the box office, established characters are more important than established actors in producing a hit. While Maleficent seems consistent with this trend at first, retelling the familiar story of Sleeping Beauty with the antagonistic dark fairy as protagonist, the film’s marketing tells another story. ‘Angelina Jolie is Maleficent’ scream the teaser trailers, with posters, banner pop-ups and bus panels solely focused on her name and darkly-horned, chiselled white head. Jolie, whose biggest role in recent years has been a voice in the Kung Fu Panda movies, could not make a more visible return to the big screen than as Maleficent, a larger-than-life presence with an iconic costume and an unmatched capacity for throwing shade.

Taking obvious cues from Wicked, with a nod to Snow White and the Huntsman and marching to the same beat as the phenomenal Frozen, Disney’s Maleficent capitalises on a desire for alternate perspectives on well-known stories, as well as a concurrent trend for difficult, anti-heroic protagonists whose chaotic evil ultimately restores the balance of a difficult world. The film opens with a young, spirited Maleficent ruling over an enchanted moor, the idyllic home of many a magical creature. When invading forces from a nearby kingdom threaten the harmony of her land, Maleficent’s forceful retaliation ultimately results in a devastating betrayal, triggering the chain of events familiar to audiences from Sleeping Beauty. The film recasts the evil spell cast on Princess Aurora (Fanning) as an act of revenge by Maleficent against the king (Copley), and follows the aftermath of this curse on Maleficent herself, the princess and her three fairy guardians (Staunton, Manville, Temple), and the princess’ father, King Stefan.

Maleficent is directed by Robert Stromberg, better known for his Oscar-winning work in visual effects and production design – his talents neither wasted nor unnoticed in how beautifully-rendered, shot and designed Maleficent is throughout. The world of the film, from the colourful, lively moor of Maleficent’s childhood to the grey, thorny forest after Stefan’s betrayal, is well-realised, and simpler moments like the ‘True Love’s Kiss’ are as quiet and visually simple as the battles or Maleficent’s spell-casting are over-the-top. Maleficent’s reveal at the christening, as well as her later appearance to Aurora in the forest, are glitteringly gothic and breathtakingly lovely, emphasised by Jolie’s cool performance and dangerous, velvety tones.

Jolie is pitch-perfect, in every wicked smile, agonised scream, and expression of concern, ranging from dispassionate to urgently needful. Her glowering at the adorable baby Aurora and later curt dismissal of her affection are highlights, with the growing affection she feels towards the child subtly progressed and played, even if it is loosely-motivated by the script. The film plays with her image too, with Jolie’s ground-sweeping gown inexplicably transformed into a catsuit by the time the action scenes roll around; and a curious line about how the man who loves her is willing to cast off the ring he wears just to hold her hand is interesting in the light of how she met her current beau.

Elsewhere, Elle Fanning is cheerful, bubbly and pretty, perfect for a princess, if rather vacant – the fairies wished for her to be beautiful and happy, but couldn’t they have wished for a personality, too? Speaking of the fairies, even if all three were combined into one fairy character, she’d still have little to do, but Imelda Staunton, Leslie Manville and Juno Temple  regardless do their best to be funny and charming. Sam Reilly as Maleficent’s shape-shifting minion, Dioval, is quietly impressive, while Sharlto Copley as Stefan (with, for some reason, a Scottish accent replacing his native South African tones) makes for an enjoyable villain. Not quite as deranged as his last bad-guy role in Elysium, Copley’s paranoia and blinkered bloodlust is convincing, if never very well-developed.

Credited to Linda Woolverton, with ten ‘based on’ credits from other sources, the greatest issue is the rather weak script. An inconsistency within the tone, structure, even the language used suggests either a great deal of revision or poor attention to detail.  Many threads feel unfinished or disorganised – the third fairy never grants Aurora a wish (no excuse for that lack of personality I joked about above); The fairies are sometimes interchangeably referred to as ‘pixies;’ and the motivation behind several key moments appears to serve the visuals rather than the plot. Most bafflingly, the final battle between Maleficent, Dioval and the King’s men takes place at an utterly needless time, when what they are fighting for is no longer really an issue, except the film needs an impressive climactic set-piece, and nobody pays to see peace in 3D.

Rather like Frozen, the ending of Maleficent contains a welcome, well-intentioned appeal to female solidarity and sorority, which is just grounded enough in the world of the film to succeed where other plot points fail to take hold. Even if the structure and focus of this film and its characters are easily confused or sacrificed to the visual splendour of its production, its premise and performances are strong, the lead performance particularly transcendental: Jolie really is magnificent as the malevolent Maleficent.

Stacy Grouden

PG (See IFCO for details)
97 mins

Maleficent is released on 28th May 2014

Maleficent – Official Website



Taking Woodstock

Taking Woodstock

DIR: Ang Lee • WRI: James Schamus • PRO: Ang Lee, James Schamus
• DOP: Eric Gatutier • ED: Tim Squyres • DES: David Gropman • CAST: Demetri Martin, Emile Hirsch, Liev Schreiber, Imelda Staunton

It’s the summer of ’69 and Elliot Tiber, a down-on-his-luck interior designer from Greenwich Village, returns home to Catskills in upstate New York where his parents’ down-market motel, the El Monaco, is on the verge of closing down. In an effort to boost the local economy and family business, Elliot gets a neighbour’s farmland to be an alternative venue for a music festival that has had its permit pulled, completely unaware of the generation-defining event it would become.

Ang Lee’s Taking Woodstock, penned by the director’s long-time collaborator James Schamus, and based on Elliot Tiber’s own memoirs, never intends to recreate the awesome scale of the festival and the cultural zeitgeist it encompassed – instead it focuses on the effect an influx of half a million hippies had on a small community, and on the conflict between a young man who helped bring about this event and the old-fashioned values of his parents. Unfortunately these domestic tensions are not nearly engaging enough to warrant the long stretches of the running time they occupy – and, for a film with ‘Woodstock’ in the title, the lack of musical performance and spectacle is pretty disappointing.

In terms of casting this would appear to be a strong ensemble. However, comedian Demetri Martin is rather wooden in the central role, unassuming but unrevealing as the young man attempting to come out to his parents and come into his own. Soft-spoken British thespian Imelda Staunton heaves every line of dialogue as Elliot’s mother – necessary to show the character’s oppressive roots perhaps but still verging on an overbearing Yiddish caricature rather than a believable person. Meanwhile Emile Hirsch is wasted in the stereotype of a crazed Vietnam vet, and Liev Shrieber’s curiously blasé transvestite never receives much pay-off. These characters are inconsequential people on the periphery, existing simply to make Elliot’s journey seem more weird and wonderful (the run-down resort even plays host to a truly terrible theatre troupe who workshop in the barn and are prone to impromptu nudist rituals…)

Admittedly, the production design is stellar – paying careful attention to detail in the radical signage and new age paraphernalia of the time – long panning shots of crowds of hippies making their mellow way uphill in a haze of good-time vibes provide a flavour of the kind of bohemian energy that must have been in the air. The film picks up when Elliot joins the masses on their journey towards the abstract notion of the unattainable stage – however, just as he seems to be getting there and the music grows louder, he takes a detour into Paul Dano’s parked VW with said stoner and his girlfriend. This low-key acid trip culminates in a view of the stage and spectators, the hills themselves rippling in waves of drug-fueled elation. It’s a fleeting vision, about as close to witnessing the concert as this film is willing to bring us. And perhaps that’s all we can be allowed to expect? Those dissatisfied can go to the original 1970 documentary or simply take comfort in the fact that many who went there never actually saw the stage; but ultimately this is a flat offering that lacks the ambition and deliberate intent of previous Ang Lee works of Americana such as Brokeback Mountain or The Ice Storm – less a picture of the world at the time, all the music and cataclysmic new ways of thinking, and more a sour little family drama of greed, secrecy and acceptance.

Eoghan McQuinn
(See biog here)

Rated 16 (See IFCO website for details)
Taking Woodstock is released on 13th November 2009