If there's a cinematic alchemy award to be given this year director Bill Condon deserves to take it home after magically turning the tedious Twilight franchise into entertainment gold. 2011's Part 1 was a horror camp romp that turned the supernatural love triangle — the naval gazing trio of Bella Edward and Jacob — on its head. Breaking Dawn - Part 2 continues the madcap exploration of a world populated by vampires and werewolves mining even more comedy thrills and genuine character moments out of conceit than ever before. The film occasionally sidesteps back into Edward and Bella's meandering romance (an evident hurdle of author Stephenie Meyer's source material) but the duller moments are overshadowed by the movie's nimble pace and playful attitude. Breaking Dawn - Part 2 will elicit laughs aplenty — but thankfully they're all on purpose.
Part 2 picks up immediately following the events of the first film Bella (Kristen Stewart) having been turned into a vampire by Edward (Robert Pattinson) to save her life after the torturous delivery of her half-human half-vampire child Renesmee. She awakes to discover super senses heightened agility increased strength… and a thirst for blood. One dead cougar later Bella and the gang are able to focus on the real troubles ahead: Renesmee is rapidly growing (think Jack) and vampiric overlords The Volturi perceive her a threat to vampiric secrecy. Knowing the Volturi will travel to Forks WA to kill the young girl (a 10-year-old just a month after being born) The Cullens amass an army of bloodsucking friends to end the oppression once and for all.
Packed with an absurd amount of backstory and mythology-twisting plot points (some vampires can shoot lightning now?) Condon and series screenwriter Melissa Rosenberg mine revel in the beefed up ensemble of Breaking Dawn - Part 2 and thanks to a wildly funny cast it never feels like pointless deviation. Along with the usual suspects Lee Pace adds swagger to the series as a grungy alt-rock vampire Noel Fisher appears as a hilarious over-the-top battle-ready Russian coven member and Michael Sheen returns has Volturi head honcho Aro and steels the show. Flamboyant diabolical and a steady stream of maniacal laughter Sheen owns Condon's high camp vision for Twilight and he lights up the screen. There are a few throw away nations of vampires — the oddly stereotypical Egyptian and Amazonians sects are there mostly there to off-set the extreme whiteness — but the actors involved bring liveliness to a franchise known for being soulless. Even Stewart Pattinson and Taylor Lautner give personal bests in this installment — a scene between Bella and her dad Charlie (Billy Burke) is genuinely heartfelt while Jacob's overprotective hero schtick finally lands.
Whereas Breaking Dawn - Part 1 stuck mostly to the personal story relying on the intimate moments as Bella and Edward took the big plunge into marriage and sex Part 2 paints with broader strokes and Condon has a ball. Delving into the history of the vampires and the vampire world outside Forks is Pandora's Box for the director. One scene where we learn why kids scare the heck of the Volturi captures a scope of medieval epics — along with the bloodshed. Twilight might be known for its sexual moments but Breaking Dawn - Part 2 will go down for its abundance of decapitations. The big set piece in the finale is something to behold both in the craftsmanship of the spectacle and in its bizarre nature.
The Twilight Saga: Breaking Dawn - Part 2 had the audience hooting hollering and even gasping as it twisted and turned to the final moments. There's little doubt that even the biggest naysayer of the franchise would do the same. No irony here: the conclusion of Twilight is a blast.
"You can make her do anything you want… For men everywhere tell me you're not going to let that go to waste."
It's a chilling turn of phrase that Chris Messina's character Henry utters when he meets the woman that his brother Calvin wrote into being. Calvin played by Paul Dano is a frustrated writer but more than that a writer who published to great acclaim at a young age who has yet to do anything since. He begins writing a character named Ruby Sparks and as he falls in love with his creation he can't stop writing. It's exhilarating and addictive. Played by Dano's real-life girlfriend Zoe Kazan Ruby Sparks is a one-dimensional male fantasy a cutesy young woman on roller skates… until she appears in his kitchen one morning. Calvin quickly learns that even though he can control her with a few taps on his typewriter Ruby has an ever-changing will of her own.
Ruby Sparks is written by Kazan with the sort of bite that a trailer can't be tied up with a neat little bow. There is gorgeous California sunshine an airy house in a hip part of Los Angeles the trendy Figaro café where Calvin finds out that other people can see Ruby and a delightful interlude with Calvin's hippie mother and stepfather played by Annette Bening and Antonio Banderas. As gorgeous and gleeful and wide-eyed as Ruby is and as much as Calvin adores her the relationship develops and changes even as he succumbs to the temptation to rewrite her. Calvin an essentially insecure man unravels and becomes more and more of a controlling jerk until he's faced with the truth of how far he's willing to go to keep Ruby from leaving him. It becomes sad and frankly disturbing with an admirably raw performance by Kazan that lingers.
While Ruby Sparks serves as an interesting commentary on wish fulfillment in fiction writing its juicy subtext is far more important. Under the surface the film delves into how we're culpable for the way we see our lovers and how we want to change them or make them something they're not. Eventually Calvin has to decide whether or not he wants to continue editing Ruby to fit his specifications; he has to face that that means about him as a person and as a man. It's Pygmalion with a feminist twist. We see plenty of dumb romantic comedies about women tricking men into changing but it seems like there's an endless parade of indie films written by men about loveably girly women whose only reason for being is to act as a catalyst for the man's emotional growth. While this is absolutely true in some ways for Ruby and Calvin there's a meat to the script and Kazan's performance that makes "Ruby" rise to the top. There are plenty of words (or that overused phrase) we can use to describe Ruby but in the end Calvin wrote those traits into her and these are details that Ruby shucks off as she grows. Similarly as women grow up we learn we can (and have to) stop performing tricks to become the person our significant other wants or sees in us.
Without revealing too much the end of Ruby Sparks could be read a number of ways. On one hand it is a bit of a misstep that undermines the general thrust of the story but it could also be seen as simply a happier more hopeful ending. Romantics will find it satisfying but those hoping for Ruby's full emancipation might find it lacking.
This is the first film for directors Jonathan Dayton and Valerie Faris since 2006's Little Miss Sunshine and although they have much in common — including Dano — Ruby is a darker unrulier movie. The idea of movie-goers being led in to see Ruby because of Faris and Dayton's names or because of the trailer is delightful because they're going to get a little bit of a different experience than they're prepared for.
[Full disclosure: I interviewed Zoe Kazan for a profile in the August/September issue of BUST magazine.]