Maleficent: Mistress of Evil (2019) 720p YIFY Movie

Maleficent: Mistress of Evil (2019)

Maleficent: Mistress of Evil is a movie starring Angelina Jolie, Elle Fanning, and Harris Dickinson. Maleficent and her goddaughter Aurora begin to question the complex family ties that bind them as they are pulled in different...

IMDB: 7.011 Likes

  • Genre: Adventure | Family
  • Quality: 720p
  • Size: 1.03G
  • Resolution: 1280*800 / 23.976 fpsfps
  • Language: English  
  • Run Time: 118
  • IMDB Rating: 7.0/10 
  • MPR: Normal
  • Peers/Seeds: 22 / 283

The Synopsis for Maleficent: Mistress of Evil (2019) 720p

Five peaceful years have passed since the demise of the duplicitous monarch, King Stefan, in (2014), and, now, an unforeseen but joyous event is about to unite the mortal Kingdom of Ulstead and the fairy-realm of the enchanted Moors. However, once more, odious treason stands in the way of true young love, as malicious envy, unbounded ambition, and ignoble thoughts creep in the hearts of men. Now, two neighbouring worlds find themselves divided by fear and prejudice, and, sadly, the impending union paves the way for an all-out confrontation. Suddenly, the magnificent winged sprite, Maleficent, and the lovely Princess Aurora are caught in the middle. Does love always end well?

The Director and Players for Maleficent: Mistress of Evil (2019) 720p

[Director]Joachim R?nning
[Role:]Elle Fanning
[Role:]Angelina Jolie
[Role:]Michelle Pfeiffer
[Role:]Harris Dickinson

The Reviews for Maleficent: Mistress of Evil (2019) 720p

Brilliant!!!Reviewed byRayPereira30Vote: 10/10

Wow! Just wow!!!! Angelina Jolie has once again Proved why she is the perfect maleficent. Powerful performance, entertaining Indeed!!!!

Don't waste your time on this horse poopReviewed byjbgibson-75384Vote: 2/10

The only reason I give it two stars is for Angelina Jolie's cheekbones

It's an exhausted and undernourished piece of whimsyReviewed byeminklVote: 4/10

Another year, another film from Disney. While in many of my articles, this point is popular, it is worth repeating. The more the Disney company (yes, corporation) restructures its own jobs, the more it resembles printing its own money. Aside from cynicism, there are cases where filmmakers from Disney took liberties with their source material and tried to become innovative. The Jungle Book (2016) by Jon Favreau, the Pete's Dragon by David Lowery (2016) and the Maleficent by Robert Stromberg (2014) are good examples. For their art and narrative, the first two films received critical acclaim. They transcended their source material capably and were standing on their own feet. Maleficent's first received mixed reviews but has gained a more positive reputation since its publication. Over time, critical examinations have highlighted his feminist allegory of sexual abuse and his accusation in fairytales of stereotyping. This sequel, Maleficent: Evil's Mistress, sees Joachim Ronning (Kon-Tiki, 2012 and Caribbean Pirates: Dead Men Tell No Tales, 2017) replacing Stromberg's director. Most of the cast returns (apart from Brenton Thwaites, replaced by Beach Rats's Harris Dickinson, 2017), and so does Linda Woolverton, Disney's screenwriter. But with some new faces (including Michelle Pfeiffer, Chiwetel Ejiofor and Ed Skrein), is the sequel going to charm viewers as much as the original? Five years after the prequel, Maleficent (Angelina Jolie) lived as the protector of her people, the Moops Moors (not the Muslims who invaded Spain in the Middle Ages) in a time of peace. She undertakes an abrupt change when she becomes aware that Prince Phillip (Harris Dickinson) is offering the courtship to Aurora (Elle Fanning). Under the happy occasion, Prince Phillip's mother, Queen Ingrith (Michelle Pfeiffer), has an ulterior motive: she is planning to use the wedding to divide people and fairies, and to provoke a possible war. Maleficent and Aurora are tied to their own people by their loyalty, causing a rift between the two just as they are about to become a family. One thing I've found is that more adults have sneakily developed even the most lackluster live-action Disney movie. In contrast to the allegory of the original film, the biggest example is the incredible pantomime appearance by Keira Knightley in The Nutcracker and the Four Realms (2018). Her work is not only over - the-top, but borders on being overly sensual (remembering Japanese anime's villainess). The expected portrayal of The Sugar Plum Fairy is subverted refreshingly. Mistress is unable to hit the same creativity floor. It's sugarcoated but insubstantial, fun yet bland, and awesome in childhood. The outcome is a complete disappointment. People expect to see the title character regularly, but the appearances of Jolie are so sporadic that it removes a strong focus on who the lead character is, making it difficult for the viewer to care for. Mistress also resorts to making Maleficent in the climax a' deus ex machina ' machine that further illustrates how Jolie's abilities were misunderstood. The remaining cast is lost in the shuffle, despite their valiant efforts, and the actors struggle to provide their roles with much-needed life. Fanning struggles to make her character memorable while Pfeiffer is on cruise control, particularly in comparison with her role in Stardust (2007). Meanwhile, Ejiofor appears to be struggling to stay awake, and Skrein looks bored again playing an overeager antagonist. More positively, as Prince Phillip, Dickinson is a definite upgrade to Thwaites. Smaller roles also hit their marks by Warwick Davis and particularly Jenn Murray (with her Kabuki-esque movements), but the rest of the cast sinks into the CGI sludge. It is difficult to discern whether Mistress is dull because of her incomprehensible storytelling or because the direction makes it difficult to take care of anything on the screen that happens. Wonderfully, Woolverton's script and co-writers Noah Harpster and Micah Fitzerman-Blue are trying to explore new ideas. For example, to highlight war, oppressed cultures, and genocide, the feminist allegory is altered. The exam is too brief to make an impact, and the direction of Ronning is plodding and lacking the energy to move the story forward with pleasure. You are more likely to notice poor narrative choices if you encounter boredom. Who would schedule a wedding immediately after an overwhelming fight in the right mind without giving priority to treatment or consideration to the dead and wounded? A startling lack of oversight is absurd and off-putting. The lack of attention to detail represents the problems of the film. His plot is incoherent, particularly without basics such as who his main character is, and his direction is too flat to ignite performances and pacing. It's an exhausted and undernourished piece of whimsy that doesn't build on the original's concepts and unfulfilled potential.

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