By Scott Huver
Story
Alejandro (
Banderas), the former thief turned defender of the downtrodden, seems poised to give up his swashbuckling ways as California shifts from Mexican territory to U.S. statehood. But he stubbornly refuses to be domesticated. A rift grows between Mr. and Mrs. Zorro when his wife Elena (
Zeta-Jones) insists he’s not there for his spirited young son Joaquin (Adrian Alonso). But even as Elena appears to divorce Alejandro and dally with a mysterious, dashing old schoolmate (
Rufus Sewell), Zorro remains a much-needed force of good when he discovers a plot that threatens to tear the U.S. apart.
Acting
Still ranking high among the most beautiful people currently on the big screen,
Banderas and
Zeta-Jones successfully evolve their on-screen relationship to reflect the too-long passage of time between films. If only the arch energy they bring to their banter and the passion they heat their love scenes with weren’t hindered by the clichéd, by-the-numbers script. Meanwhile, though a semi-believable potential romantic rival to
Banderas, the ever-arresting
Sewell remains one of the most underutilized actors in Hollywood, relegated to yet-another period heavy role. Alonso shows pluck as the budding Zorro, Jr., but his charisma is dampened by overly cutes-y scenes and too-modern one-liners. Even though both
Banderas and
Zeta-Jones have emerged as top-flight actors and A-level movie stars since the original, the sequel still sorely misses the class and gravitas
Anthony Hopkins brought to the first outing.
Direction
None of director
Martin Campbell’s films since
The Mask of Zorro have demonstrated the same whip-smart panache, and sadly this sequel, though serviceable, is no exception. He competently carries off the necessary but familiar-feeling action set pieces, and at times he lets the simmering sex vibe between his stars run loose, albeit briefly, on the screen. The film certainly isn’t so lackluster as to provoke bored Zs from the audience, but it’s a shame to see El Zorro’s blade this dulled.