The second Fifty Shades is flawed but easy on the eye, while Annette Bening gives the performance of her life as a single mother in 70s La
I don’t believe in the term “guilty pleasure”: if a film, however ropey, gives me pleasure, I’m not ashamed to concede that something about it is working. Still, the delight I take in Fifty Shades Darker (Universal, 18) pushes this attitude to its limit. The first film based on El James’s potpourri-porn novels was surprisingly sly, pruning and embellishing the author’s lilac prose with something like irony. This follow-up, directed in gaudily gilded fashion by James Foley, falls into more of the source material’s pitfalls of whiplash plotting and inconsistent, doll-like characterisation.
Still played with sporting gumption by Dakota Johnson, S&M novice Anastasia Steele has gone from a curious but self-contained woman to a yes-no-yes-no marionette to...
I don’t believe in the term “guilty pleasure”: if a film, however ropey, gives me pleasure, I’m not ashamed to concede that something about it is working. Still, the delight I take in Fifty Shades Darker (Universal, 18) pushes this attitude to its limit. The first film based on El James’s potpourri-porn novels was surprisingly sly, pruning and embellishing the author’s lilac prose with something like irony. This follow-up, directed in gaudily gilded fashion by James Foley, falls into more of the source material’s pitfalls of whiplash plotting and inconsistent, doll-like characterisation.
Still played with sporting gumption by Dakota Johnson, S&M novice Anastasia Steele has gone from a curious but self-contained woman to a yes-no-yes-no marionette to...
- 6/25/2017
- by Guy Lodge
- The Guardian - Film News
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