I thought the first Twilight movie was fresh and entertaining, but I haven’t cared about the series since then. The best I can say about this closing chapter, based on the latter part of Stephenie Meyer’s novel, is that it offers “more of the same.” To the series’ fervent fans, that will come as good news. For me, it was something of a yawn.
Part 2 of Breaking Dawn begins where Part 1 left off. Bella and Edward are now married and the parents of a baby girl who is half-vampire, half-human. The opening section of the movie has the air of a 1980s shampoo commercial as the two newlyweds, discreetly naked, make passionate love to a nonstop music track. At times like this, Breaking Dawn Part 2 is cheesy to the point of self-parody. When the story finally kicks in it gets more interesting. It seems the Volturi, led by the outrageously hammy Michael Sheen, are convinced that the baby is an “immortal child,” which foretells disaster. It’s up to the Cullen clan to convince the Volturi that they’re wrong—or face them in battle. This leads to an exciting action climax with an admirably clever twist.
Jacob, if you’re keeping track, is now an ally of the Cullens, although Edward is uneasy with this truce. But never fear: Taylor Lautner still gets an opportunity to take off his shirt.
As for Kristen Stewart and Robert Pattinson, they murmur so many of their lines that it’s often difficult to understand what they’re saying. There is no problem seeing them, however, as the camera comes in so close during their scenes together that you can count their eyelashes.
As in earlier series entries, the wolves who play a vital role in the story are expertly rendered in CGI form but, curiously, never seem “real” enough to be scary, even when they’re baring their teeth. Similarly, a series of gruesome shots late in the film are so patently unreal that the MPAA didn’t have a problem granting a PG-13 rating.
Breaking Dawn Part 2 preaches to the choir as much as any movie ever made. I have a feeling that core audience will be pleased. What I, or any critic, may think scarcely matters.