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.
Frida Kahlo (Salma Hayek) is a mischievous and sexually liberated student and aspiring painter in Mexico City when she first spies the much older prominent muralist Diego Rivera (Alfred Molina) cavorting with one of his models. Frida lives with her loving parents--Mexican mother German-Jewish father--and is intimately involved with her boyfriend. Tragedy strikes when Frida is gravely injured in a trolley crash and she never fully recovers. When her boyfriend takes off for Europe Kahlo focuses more on her paintings and boldly approaches Rivera for an honest appraisal of her work. Rivera well known for his marital infidelity and womanizing immediately recognizes Kahlo's talent and takes her under his wing as a protégée rather than a lover. An ardent Communist with a zest for socializing he introduces her to his artsy and progressive circles where Kahlo easily fits in. The pair soon become lovers and believing they have a special understanding of each other decide to marry. The union is immediately threatened when Kahlo learns that the hotheaded Lupe (Valeria Golino) one of Rivera's ex-wives occupies the apartment above theirs. After Rivera is awarded several commissions in the U.S. he and Kahlo begin their tour in New York and enjoy life as minor celebrities. Kahlo exercises her promiscuity by carrying on with one of Rivera's lovers and Rivera exercises his political intransigence with a fateful confrontation with Nelson Rockefeller (Edward Norton) who hired the artist to paint a mural in the Rockefeller Center lobby. The dust-up causes the loss of another commission and the couple returns to Mexico where they become hosts to fugitive Communist Leon Trotsky (Geoffrey Rush) and his wife. Kahlo has an affair with the legendary figure but when it threatens his marriage they move away and Trotsky is assassinated soon after. Rivera and Kahlo divorce but remarry when Rivera returns to his partner who is now impoverished and desperately ill.
The acting here is outstanding. Salma Hayek as the wild and quietly creative Kahlo is in practically every frame and dazzles in a variety of moods and situations. Alfred Molina in the more subtle role of Rivera is every bit as marvelous managing to charm and delight as a character who is essentially dissolute yet warm and lovable. Valeria Golino is another standout in the lesser role of the fiery Lupe. Geoffrey Rush makes a credible Trotsky and Ashley Judd pleases as a jovial Mexican party girl with a taste for mischief. Antonio Banderas does a neat cameo as a heated Communist and Edward Norton plays a very decent Rockefeller not shy about saying who pays the bills. Brits Roger Rees convincing as Kahlo's loving father and Saffron Burrows as Kahlo's loving diversion add heft to their supporting roles.
Julie Taymor best known for some very showy previous works like Broadway's The Lion King her feature debut Titus and a number of critically acclaimed operas proves again with Frida that she's an incomparable visual stylist. Taymor engages the eyes with a dazzling palette of Mexican colors and iconography and episodes of magical realism and mixed media invention that convey the intoxicating world of her subjects and the dramatic signature events of their lives. But Taymor (who also delivers a seductive majestic soundtrack) never loses sight of the fact that it is her beguiling characters who matter most.