A dull opening seeks to establish young Maleficent as a girl so sweet-natured that she uses her special healing powers to mend a snapped twig. Move over Mother Teresa. She soon falls for a bland lad called Stefan, who disappears for many years only to return and cut off her wings to appease the wicked King. At this critical juncture the film reaches its storytelling nadir, as the transition of Maleficent from benevolent goodness into revenge-fuelled badness is handled dismally.
Key dramatic beats are skipped and we're supposed to accept a sudden character change that sees Maleficent plot to murder Stefan's young baby Aurora and place a famous curse on her that involves a pricked finger, spinning wheel and permanent sleep. By this stage, the soulless nature of the movie leads you to yearn for the merciful release of unconsciousness.
It doesn't help that the creepiest-looking fairies since the Spice Girls' video for 'Viva Forever' are constantly buzzing around in need of a good swatting. Played by Imelda Staunton, Juno Temple and Lesley Manville, they're clearly designed to appeal to children rather than embittered film critics - but their oversized heads on poorly rendered CGI bodies and quaint mannerisms do little to disarm.
Fortunately, when the movie leaps to an older Aurora (Elle Fanning) the dynamic between her effervescent teenage self and the melancholic Maleficent totally transforms the movie from frog to prince. It's like a curse has been lifted. As Maleficent's tortured heart begins to thaw through the disarming kindness and purity of Aurora, with a few cute monsters in tow, so does ours. This injection of interest allows for a rousing finale that brilliantly blends emotion and spectacle while cleverly subverting our expectations by altering key parts of the Sleeping Beauty story.
Entrusting a reportedly $180 million movie into the hands of first time director Robert Stromberg wasn't a smart move, but it looks like Disney aren't keen on experienced and creatively forthright individuals behind the lens given Edgar Wright's recent split from the Ant Man project. Much of the opening section is filmed in a staggeringly amateurish manner, with the eyelines of characters often at levels that ignore the all-important 'rule of thirds' when it comes to framing a shot.
Much like the character of Maleficent veers between hero and villain during the story, the film straddles the line between magnificence and misery.
The visual landscape, full of swooping shots over cliffs and luscious greenery, reeks of overfamiliarity and thus diminishes its impact. It comes as no surprise to learn that Stromberg worked as the production designer on Avatar, given that similarities could lead one to think he swiped some excess footage of Pandora from under James Cameron's nose to use at the start of Maleficent. It's reminiscent of the ending of the theatrical release of Blade Runner, which used footage shot for The Shining.
The 3D effects look atrocious during the first third too, with the soft focus lighting and shimmering from the water creating a very hazy effect lacking in clarity. Yet they improve exponentially as the movie progresses, immersing the viewer into the enchanting kingdom. Could this jarring inconsistency be the result of reshoots?
With her piercing eyes, angular cheekbones and a voice that effortlessly flits between soothing and scything, Angelina Jolie is majestic as Maleficent and keeps the movie afloat during its worst segments. Although the script botches her crucial transition into villainess, you nonetheless believe and empathize with her thanks to the underlying sense of dignity that Jolie lends to the character.
Elle Fanning also sparkles as Aurora in a role that could have been nausea-inducing due to sweetness overload if played by a lesser actress. Sharlto Copley and Sam Riley don't fare so well though, with the former being a shifty cipher as the adult Stefan and the latter having little more to do than stare forlornly at green screen as an entity that alternates between man and bird. At least give him a car to s**t on.
Much like the character of Maleficent veers between hero and villain during the story, the film straddles the line between magnificence and misery. Yet the consistent splendour of Jolie's spellbinding portrayal, the energetic presence of Fanning and a rousing climax that reinforces classic moral values go a long way to salvaging this uneven production.