Maleficent: Mistress of Evil (2019)

O’Hara finds the sequel an improvement, though it remains overstuffed and too busy to match its leading lady. She praises Michelle Pfeiffer’s compelling villain and the film’s beautifully orchestrated finale.

The accessible page does not reveal the critic’s verdict. Its standfirst highlights Jolie’s return and Pfeiffer’s pursuit.

The page content is inaccessible, so the critic’s verdict cannot be determined. No specific praise or complaint can be verified from the available text.

Kohn finds the film’s story heavy-handed and familiar, though its visual spectacle offers some appeal. He singles out Angelina Jolie’s flamboyant, fearsome performance as the movie’s strongest feature.

O'Sullivan finds the sequel enjoyable but uneven, concluding it avoids ruining a brilliant character. She praises the gorgeous underwater shots and the film’s nightmare-like depiction of fairies being slaughtered.

The critic finds the sequel overstuffed but sees a worthy reason for it to exist. They single out the head-to-head between Michelle Pfeiffer and Angelina Jolie.

The critic finds the sequel a mildly enjoyable but inert fantasy whose themes and dramatic turns are undermined by kid-friendly zaniness. They praise some inspired supporting details, especially the strange castle subordinates and the secret fairyland’s visual design.

Chang finds the sequel messy and overblown, though it has moments of unusual fun. He praises Michelle Pfeiffer’s glowering performance and the plot’s gleeful derangement.

Lazic finds the sequel muddled and misguided, ultimately a waste of everyone’s time. She particularly criticizes its clumsy use of Holocaust imagery and genocide as plot elements.

The review gives the film two stars and says its biggest selling point is the chance to see Angelina Jolie and Michelle Pfeiffer command the screen. It also notes that the film expands the original’s world through a bombardment of spectacle.

Walsh finds the sequel overstuffed, shallow and soporific, with too few entertaining moments to make it worthwhile. He praises Angelina Jolie’s wickedly camp performance and singles out her comic-chemistry showdown with Michelle Pfeiffer.

The critic finds the sequel uninspired and unnecessary, with too little Maleficent to justify its existence. They praise its sweeping visuals and fantasy world, but say weak foundations undermine its emotional impact.

Lucca finds the sequel bombastic and repetitive, with only passing pleasures. She singles out Michelle Pfeiffer’s nasty, bejewelled queen and the strange, culturally blended fairy haven.

Bradshaw finds the sequel disappointing, saying it runs out of narrative steam and sinks into a generic CGI battle. He praises Jolie and Fanning for committing to their performances despite the weak material.

McCarthy finds the sequel formulaic and mechanically staged, with little dramatic tension despite its predictable commercial appeal. He singles out Angelina Jolie’s intriguing, ambiguous Maleficent as the film’s main distinction.

The critic finds the sequel a haphazard, disappointing mess that squanders its performers. She praises Jolie and Pfeiffer’s charismatic performances, while faulting the film’s CGI fixation and muddled storytelling.

The critic finds the sequel cynical, tiresome, and ultimately empty. They single out its conversion of thorny folklore into functional action-hero effects as a key failure.

Debruge pans the sequel as an ugly, unpleasant slog that turns Maleficent into a pawn in an overcrowded fantasy war. He praises Angelina Jolie’s formidable screen presence and vampy fashion, but faults the messy story and oppressive visual design.

The critic calls it a great, exciting film, though less moving than its predecessor. She praises Maleficent’s climactic display of power and the film’s women-led story.

The critic finds it a fun, visually spectacular sequel with a strong message, despite some issues being too on-the-nose. They praise Angelina Jolie’s layered performance but fault the overlong, tonally discordant showdown.

Sandwell calls it a superior, often fun sequel, though it falls short of its potential. He praises the sparring between Angelina Jolie and Michelle Pfeiffer, while finding the fairy-world subplot dull.

Kaye finds the sequel predictable and narratively pointless, despite its occasional visual appeal. He singles out the expanded production design and Maleficent’s striking wings and fiery effects for praise.

Bui finds the ambitious sequel overstuffed and tonally confused, ultimately ending with a thud. She praises Jolie’s performance and the impressive visual spectacle of the battle sequences.

The critic finds the sequel diminished, with a less compelling story and a softened central character. The elaborate costumes stand out as its strongest feature.