So now Bella (Kristen Stewart) is not just vamp, but super-mega-ultra-vamp, the smartest, strongest, most beautiful, most morally pristine vamp there ever was. Meanwhile, her brand-new and rapidly growing daughter, Renesmee (Mackenzie Foy) is blessed with the psychic ability to melt even the coldest heart with the power of L-O-V-E, not that that matters to the Volturi, who still want her dead, because… well, because. And Edward (Robert Pattinson) and Jacob (Taylor Lautner) are still just the big, buttery hunks of dreaminess they always were.
And you’d think with all of that we’d get a pretty rip-roaring wrap-up to the TWILIGHT SAGA franchise, but, nope, THE TWILIGHT SAGA: BREAKING DAWN PART 2, is still the kind of moody, formless slog we’ve been through before, only slightly energized by a long-delayed bit of action that still manages to turn around and slap you in the face for even daring to hope that the film might be working itself up to a compelling moment. Cinefantastique Online’s Steve Biodrowski and Dan Persons unburden themselves of the experience with a cathartic, in-depth discussion of this final chapter. Then, Dan gives his capsule thoughts on the Russian satire GENERATION P; plus, what’s coming to theaters next week.
It’s vampires! And werewolves! And the most romantic wedding ever! Annnnd… actually it’s mostly about that wedding, and the repercussions thereof (in other words, somebody’s winding up with a bloodsucking bun in the oven). For those already enamored by the ongoing travails of blushing heroine Bella (Kristen Stewart) and her sensitive vampire beau Edward (Robert Pattinson), THE TWILIGHT SAGA: BREAKING DAWN PART 1 begins the final chapter of an epic romance, as humans, lyncanthropes, and the undead begin to confront the daunting prospect of mortal and immortal merging into one, tiny life. For those not prone to reflexive swooning, Cinefantastique Online’s Steve Biodrowski, Lawrence French, and Dan Persons are willing to apply a more critical yardstick, exploring the tale’s confusing explication of vampire gestation, its zeal for licensed pop music, and whether its none-too-subtle pro-life subtext should be cause for concern.
Also: What’s coming in theaters.