However, we are going for a party. In this sequel to in the name of freedom to be more creative (just for the name, which is grace), we can see Evil in the attempt to reconcile the nature of the maternal instinct that is generated by her relationship with Aurora (Elle Fanning). With the news of the engagement of the young person that the young sorceress is driven to a dilemma of culture and moral: to live in harmony with humans, who either don’t like to declare war on them. In the midst of all this comes from Michelle Pfeiffer as the queen of Ingrith, is ready to “arm-wrestle” with such a Master of Evil.
By putting it this way, in the second, “Evil” seems to be an upgrade from the first movie, it’s probably more feature-rich, visually and audibly, as well as it’s structure is borrowed from “The Sleeping beauty”. But it turns out it is a chronic, empty, artistic, in the frenzy of the digital, and the creatures of the computer, and the landscape as a synthetic filling eye, with nothing there to solve.
In fact, “Evil Master of Evil”, is a production-starved to the extent of the alleged image of the brand. Sometimes infantilizada in that it requires that the characters and their so-called emotions (such as a novel, it lags in giving emphasis in the so-called tone to the tragic), making the conflict-of-metaforizada international diplomacy only, and soft playing “make-believe”.
But the worst thing is even an argument to be translated into a salganhada of posts on common topics, in a hurry, and dialogues are simplistic and without depth. It is a gift in a disposable, to spur on the manufacturing of the formula. And only Angelina Jolie, a seductive-and with a certain delight in its playfulness, is that this “amusement park” targets of some (and not do) with dignity.
“Evil Master of Evil”: in theaters on October 17th.
Review: Hugo Gomes