Offensive to the BDSM community and unconscionable in its depiction and romanticization of abusive relationships, Fifty Shades Darker is an unmitigated disaster on all fronts. Remarkably absent of any defining chemistry between its lead actors and dramatically flaccid throughout, Fifty Shades Darker did indeed get darker and it appeared to get a whole lot dumber as well.
This is 90's psycho thriller like "The person who I love is f**king pervert" disguised as sweet rom-drama so that the choice to fetch James Foley, who directed "At Close Range" and "Fear," is right and that's why I watched this. But I'm completely wrong. At first although there is sinister mood with silly story in good way, finally Foley crashes onto the bottom by music sex videos with anal beads. What a misery.
I watched this as an online stream. This method strangely added to the experience. One of the key 'shock' moments involving a request between lovers for 'anal beads'. It was not meant to be funny. The audience in question was in hysterics. Taylor-Johnson is a great director and the actors involved are perfectly decent, it's just a really dodgy script.
Handsomely made but empty second entry in the series that makes one almost pine for the complicated plotting of the first (yes that's sarcasm). Ridiculous throughout but opulent in production design and costume especially the very fine expensive lingerie. The biggest howl this time around has to be the tribute to Melanie Griffith's 'Working Girl'. Pretty awful. BDSM goes vanilla....again.
Predecible, aburrida, destilando cantidades bestiales de misoginia en cada cuadro y atiborrada de escenas cuyo "candente" contenido provoca más hueva que otra cosa,esta secuela del exitoso bodrio del año anterior marca el peldaño más bajo en la hasta ahora interesante carrera del director James Foley (GLENGARY GLENN ROSS). La presencia de la aún sensual Kim Basinger no hace sino realzar lo patético de todo el asunto.
the same strength as in the first part: non self-reflectingly showing pure connection between wealth and attraction. The girl falls for the guy in spite of him being a dick because he constantly buys her out. it could even work as a critique of capitalism. sadly, the second half of the movie is neither bad enough nor ridiculous enough to make it fully function it's wicked purpose.
Of particular note as far as flaws go is the way that E.L. James didn't particularly expend effort on developing any of the potential plot threads into meat of interest for this movie. She seems much more interested in dead-end sex scenes scored to hit-or-miss songs that fit contextually, rendered repulsive because of the context to which they're attached. It's a pretty awful deal all around, but it's lit well.