Maleficent and her goddaughter Aurora begin to question the complex family ties that bind them as they are pulled in different directions by impending nuptials, unexpected allies, and dark new forces at play.
Jolie’s magnetism, plus the way she toes the line between being a fairy version of Batman and a menacing mistress of not-quite-evil-but-pretty-close, is why these “Maleficent” movies work. She fits the character as well as her endless cycle of evolving costumes.
For kids maybe this is still magical; grownups, though, will waste many long, busily bedazzled minutes wondering why the powers that were able to bring Pfeiffer and Jolie together on screen couldn’t do at least marginally better by them both, and give them parts to truly sink their movie-star teeth into.
An improvement on the first film, in the end, and an encouraging rallying cry against fear and intolerance, but it’s still far too busy and baroque to match its leading lady’s elegance.
An overlong blend of kid-friendly “Game of Thrones” warfare and standard-issue metaphors of intolerance, Maleficent: Mistress of Evil finds plenty of ways to build on the original premise, but few that resonate any better than the last flamboyant ride.