Maleficent Mistress Of Evil 4K 2019 Ultra HD 2160p

Maleficent Mistress Of Evil watch a movie in 4K. Several years have passed since Maleficent defended the magic forest from enemies and earned the respect of Princess Aurora. But great changes are coming, and the mistress of darkness will have to face new trials that will again reveal her contradictory nature.

Maleficent Mistress Of Evil 4K review
Princess Aurora (Elle Fanning) is engaged to Prince Philip (Harris Dickinson). But when her godmother Maleficent (Angelina Jolie) loses her temper during a dinner with the parents of her future groom, King John (Robert Lindsay) and Queen Ingrit (Michelle Pfeiffer), the impending discord threatens to turn the precarious truce between humans and elves into a devastating war.

The first “Maleficent” was an example of fabulous revisionism with a magnificent design and a shaky plot, which, nevertheless, had its advantages. The creators managed to show the classic story of “Sleeping Beauty” from the point of view of the villain and build it in the form of a story about delayed revenge for rape, which for children's fantasy can be considered quite a feat. In the sequel, Disney had the opportunity to collect ideas scattered throughout the film into something whole. However, this opportunity was again missed.

In “Lady of Darkness” we again meet with the main characters five years after the events of the first part, and find that in their world almost no changes have occurred during this time - the only thing is that some characters have been replaced by similar ones. Princess Aurora rules the magic forest just as well, and her godmother Maleficent treats people with poorly disguised contempt. When, after several cloying scenes, Prince Philip kneels and asks for her goddaughter’s hands, Maleficent’s contempt turns into outright rage.

The film, which promised a powerful and juicy confrontation between two surrogate mothers, Maleficent and Ingrit, for the right to be considered real in relation to a naive Aurora (having actresses of such caliber in her hands), reduces this fight to two scenes - a dinner in the royal castle and the final battle, performed on the patterns of Marvel blockbusters. There are no more joint scenes of Jolie and Pfeiffer in the film. Instead, director Joaquim Ronning, who shot previously close-minded Pirates of the Caribbean: Dead Men Tell No Tales and the sweeping biopic about the Tour Heyerdahl Contikiki, is building a full-fledged Malevlenian and populating it with fairy-tale characters of different colors and calibers. Due to this, in “Maleficent” there appear not the most original and completely unnecessary motifs of “Avatar” and “Game of Thrones” here - the mistress of Darkness suddenly has her own army of winged demons like her, as if descended from Vrubel’s canvases.

The balance of power at first pleases with its radicalism - we have two armies led by charismatic women, one of which is dressed in white lace and pearls, the other is drawn from head to toe in black couture. The problem is that the philosophies of these two warring and inside-out forces of good and evil can not always be clearly distinguished, they are too identical. The closest thing to some sort of explanation of the conflict is Ingrid in the image of Pfeiffer, who condescendingly throws the phrase to young Aurora: “You don’t understand what it means to control peoples, it’s not for you to run barefoot through the fields with a flower behind your ear.” Ok, people have to be kept in check by means of tight control mixed with magic, and fairies, elves and other harmless evil prefers freedom and night raves around a fire. Probably, we are talking about tolerance, but I would still like to get more of some context and nuances - for children, these contradictions could be chewed more popularly.

Instead, in the third act, catchy, impressive special effects, which will look behind in a few years, habitually come into force. One can only admire the image of Maleficent, within which a certain internal struggle constantly takes place, and she, frozen in her Gothic splendor, all the time doubts the need to attack her rivals. It’s a pity that the creators of the franchise are trying their best to wipe Maleficent into the background, to mask her depravity and baroque, to obscure, finally, an army of secondary characters who do not excite even an iota of the same interest as the leading actress of our time in the original make-up and with brand growths on the head.