The Twilight Saga: Breaking Dawn Part Two (12A)

Time Out says

Thu Nov 15 2012

There’s much talk of ‘forever’ in the fifth and final instalment (or so we’ve been promised) of ‘The Twilight Saga’, the screen’s most vanilla vampire chronicle. It’s an apt word to stress, signifying both the deathless devotion the series has inspired in legions of ferocious fans and the interminable tedium these rather inelegantly protracted films present to the unconverted. Neither camp’s minds are going to be changed by Bill Condon’s alternately thudding and thrilling closer, but that is as it should be: right down to the celebratory parade of every participating player across all five films in the end credits, ‘Breaking Dawn – Part 2’ is less a freestanding film than a victory lap for a franchise that hasn’t wavered in its commitment to its fanbase.

That’s a gentle way of saying that ‘Part 2’ does little to prove the necessity of splitting Stephenie Meyer’s concluding novel, ‘Deathly Hallows’-style, into two halves. The bulk of the book’s most savoury action – sullen teen Bella Swan’s long-delayed sexual awakening, mutant pregnancy and conversion to the bloodsucking faith – was covered in last year’s gratifyingly bonkers exercise in junior Cronenbergia. That leaves the follow-up a rather talky affair for its first half: while the Cullen clan pad around their luxury woodland lodge, discussing intricate global vampire politics and wearing gilets, the film most resembles an underexposed Next catalogue.

By and by, however, an engaging sense of humour emerges, even flirting with self-parody when Taylor Lautner’s lupine Jacob – whose eerily marzipan-like consistency, even in wolf form, remains his sole interesting feature – perfunctorily gets his kit off before Bella’s horrified dad. Across both the ‘Breaking Dawn’ films, that playfulness has been Condon’s chief gift to the series. It pays off grandly in a riotous showdown between the heroes and the malevolent, Michael Sheen-led Volturi tribe, which finds an absurdly ingenious way both to preserve and subvert the contentiously passive climax of Meyer’s novel.

Most energised of all, for once, is Kristen Stewart, often unfairly maligned for a performance restricted by the maddeningly morose behaviour of Bella in human form. Reborn as a vampire, her newly red eyes visibly glint with the pleasure of finally getting to kick some ass, leaving all memories of Edward-Jacob love tussles for the inconsequential dust they are. If we learn anything from this silly but satisfying finale, it’s that everyone could stand to get some vampire in them.

Author: Guy Lodge