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Maleficent is a fairy protecting the magic half of a kingdom from invasion by its human neighbours. One day she falls for a human boy, who grows up with ambitions to be king and betrays Maleficent to secure his dream. Furious, she swears revenge.There are many sides to any story, we are told. Maleficent suggests that the version of events in Disney’s 1959 Sleeping Beauty was a load of slanderous cobblers, besmirching a fairy just for having the temerity to possess a strong will, goat-like horns and a wish to put an infant in a coma. Maleficent was not, this story claims, an evil witch but a misunderstood woman, heartbroken, lonely and mostly very boring. Here, then, is the truth that gets in the way of a good story.

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The opening pages take us to a land separated into two parts: one half housing humans, the other home to magical folk, among them four fairies. Three of these are your typical dainty wand-wavers, while one, Maleficent, has eagle wings and devil spikes but a good heart. She gives that heart to the wrong man and blah de blah winds up swearing vengeance on his first born, Aurora, in a repeat of the most famous scene from the cartoon.At Aurora’s christening, two of the good fairies give her the gifts of beauty and unshakeable cheerfulness,(Watch Maleficent Online of 2014) before Maleficent huffs in and delivers her oddly specific present of a “sleep like death” when Aurora pricks her finger on a spinning wheel on her 16th birthday. We never learn what the third good fairy bestowed but we might deduce from the teenage princess’s credulous dimness that her final prize was never to be troubled by complex thought. The girl is a moron, repeatedly giggling into the path of probable death. It’s miraculous she survives to see sixteen.There is unassailable confusion at the centre of this film.

This is not a story of a woman’s fall to villainy, because it is constantly repeated that Maleficent is essentially good and won’t harm the child – minutes after giving the baby a death sentence, she’s feeding it when Aurora’s fairy godmothers don’t bother. So it’s not another side of the Sleeping Beauty tale; it’s a completely different story with the same cast and a couple of familiar moments. If the pleasure of these things is in seeing warped parallels with the original story then what’s the point if there are none and it arrives at a completely contradictory ending?(Download Maleficent) It just doesn’t cohere to its simple conceit.Robert Stromberg, graduating from visual effects supervisor to director, directs like a visual effects supervisor. Enormous care is taken on the magical environments, which have the same shiny box-fresh lifelessness of Oz: The Great and Powerful and Tim Burton’s Alice in Wonderland, and very little expended on the real people. His mood is murky and his characters equally so. You might imagine that a character like Maleficent, whose animated persona was equal parts Norma Desmond and goth drag queen, would be fizzing with acid bon mots. Not a bit of it. She gets not one funny line.

She gets three funny looks, which Angelina Jolie squeezes for all they are worth, perhaps just to have something to do other than sulk in trees. Jolie is perfect casting for a flesh-and-blood Maleficent, but she’s given a costume, not a role.Robbed of her villainy, Maleficent has become – honestly no pun intended – a Magwitch figure, lurking nearby throughout Aurora’s life and trying to keep her from harm, despite being the one who set that harm in motion. She is baffling and boring. In the move to three-dimensions, Disney has flattened the poor woman out.(Download Maleficent) Though a live-action, big-budget take on the Sleeping Beauty villain had the makings of a cinematic dream, it needs a fairy godmother equipped with a snappier script.And not even Angelina Jolie's fantastically evil-chic wardrobe can rescue it.She tries to tap into her sinister side as Maleficent, a powerfully winged fairy who's an outcast in her faraway land. Or is she just really misunderstood and brokenhearted that her former childhood sweetheart, Stefan, has snubbed her? Yes, that's it. Her loneliness turns into despair after Stefan (Sharlto Copley) drugs her with a magic potion and clips her wings.

Maleficent seeks refuge in the wilderness, where beasts protect her and keep her posted on day-to-day life in the kingdom. When she's informed that the king has welcomed a baby girl (named Aurora), she snaps. Green with rage and unable to fly, the vindictive Maleficent shows up to the royal baby ceremony and delivers her most wicked curse: the princess will fall into a sleep upon her 16th birthday,(Download Maleficent) and only the kiss of a true love can save her. The frightened king immediately ships her out of the palace and into the care of three fairies.Parents with small kids in tow at the Cineplex may be put-off by this rather dark plot description. But rest assured the red flag here isn't the potential for nightmares—it's the long stretch of nothing that will lead to restless boredom. If anything, the movie could use more good ole' fashioned diabolical fun. Like 2012's Snow White & The Huntsmen, this drama takes itself far too seriously for a tale as old as time (only the three dopey fairies provide a speck of joy). Granted, the enchanted forest is bright and impeccably detailed, but what 7-year-old is going to walk out the theater raving about high-quality production design?

Jolie, employing an English accent, wastes a chance to sink her teeth into a Disney villain role. Instead, she plays it earnest and humorless in a narrative that's as ho-hum as it is exasperating. Almost as soon as Maleficent casts her spell—we're talking, like, eight minutes—she regrets it and takes a sympathetic interest in the baby girl. (Jolie's own daughter, Vivienne, portrays her as a toddler.(Download Maleficent) She's a cutie.) As years pass and Aurora grows up into a beautiful and bland teen (Elle Fanning), the alleged evil sorceress befriends her. What a cop out. You have black horns, girlfriend! Own it.More appalling, the filmmakers (who include co-producer Jolie) decide to rewrite the storybook. No spoilers, except a warning that there's an ultrasappy, unnecessary and modern spin on the classic happily ever after. You know, because so many people have complained for centuries that the end needed a do-over. Tsk, tsk. Just because an updated version is more PG-friendly doesn't mean it's splendid entertainment for kids of all ages.

''Let us tell an old story anew and see how well you know it.'' The first line of Maleficent could be emblazoned on a sticker and slapped onto the back-bumper of Hollywood, an industry that has at this point become more interested in recycling than Ed Begley, Jr. The classic movies, characters, and franchises of the past are dead dinosaurs that have since turned into precious, commodifiable oil, and no one is sitting on top of a richer reservoir than Disney.(Download Maleficent) The latest to come galloping out of the vault is Maleficent, which casts Angelina Jolie — somehow made more angular and aloof — as one of the studio's great animated villains, the horned epitome of evil from 1959's Sleeping Beauty. As with other perspective-switch narratives like Grendel or Wide Sargasso Sea (or even Wicked) the film exists to fill in the cracks of the original story, giving context to a character's antagonism.Betrayed by her childhood love (Sharlto Copley) so that he could become king, Maleficent curses the princess Aurora (Elle Fanning): She will prick her finger on a spinning wheel by her 16th birthday and fall into a death-like sleep.

The hex is one made by a woman scorned and, according to this revisionist fairy tale, soon regretted, as the cuddlier version of the villainess becomes a reluctant fairy godmother to Aurora.Robert Stromberg, the production designer responsible for the horizon-less CGI dreamscapes of Alice in Wonderland, Oz: The Great and Powerful, and Avatar, makes his directorial debut and — surprise! — there's a lot of levitating cliffs and odd flora. But despite their bleeding-edge digital design,(Download Maleficent) the backgrounds have all the depth of the old matte-painted backgrounds of the analog days. That might not be an accident, since a lot of Maleficent feels classical in nature. The characters are boiled down to their essentials, the humor is timelessly broad, and Jolie's at her best when she's curling her claws and elongating her vowels like a black-sabbath Tallulah Bankhead. Unfortunately, the story is more than a bit of a muddle, a string of sequences that shuttle the characters back and forth between the film's sole two locations, a castle and a magic forest. And somehow, there's only enough time for Sleeping Beauty to get five minutes of shut-eye before she's almost immediately awoken by true love's kiss. That's not a death-like sleep, that's a power nap.

A modern new take on a Disney classic, Maleficent succeeds mostly to a multifaceted performance by Angelina Jolie, who injects wit and passion into the artificial CGI landscapes.Re-writing the rules is something Disney are more than willing to do whilst updating their back catalogue of fairy-tales. The winners in all of this are female characters. Brave gave us the first female protagonist in a Pixar movie. Frozen provided a rousing rendition of sisterhood to the tune of $1 billion box office gross worldwide. And now we have Maleficent,(Download Maleficent) an origin story on one of the great fairy tale villains who is dissected and placed back together as a wholly new sympathetic, interesting and frightening creature in both her motives and relationship with the enchanting Sleeping Beauty (Elle Fanning).The casting of Angelina Jolie as the title character is a stroke of genius. As well as the sharp cheekbones and piercing eyes that are part of her striking features, Jolie brings that deep emotional well that she draws upon to portray the agony, heartbreak and anger, that transforms this pure young fairy with the horns and mighty wings into a violated, vengeful villain clad in a leather outfit that's as black as her heart.

Of course it is love gone sour that unleashes the devil, a young love with a King from the rival kingdom of man, Stefan (Sharlto Copley) whose ambition to rule all of the lands brings about treachery and a curse upon his kingdom.And let it be known that Maleficent can be very dark, as any humanist fantasy about the nature of evil can be. Much like Sam Raimi did in Oz the Great and Powerful,(Download Maleficent) director Robert Stromberg evokes nightmarish, gothic imagery during times of wicked malevolence that is sure to have the wee little ones shaking in their booties. Meanwhile adults will appreciate the many shades to this character transformed into evil.Less so impressive are the visual effects featured in Maleficent, which is a shame considering Stromberg is a strong visualist who has won Oscars for Art Direction on Avatar and Alice in Wonderland. While not as over the top as the latter, the visual effects in Maleficent (especially within the fairy kingdom) seem a little too synthetic, a little too un-rendered and (in the not too distant future) will be seen as a little too dated.

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Thankfully Jolie's performance makes up for it, especially during her scenes with Elle Fanning whose joyous presence and beaming smile lights up the heart of even the blackest of souls, with Jolie playing the conflicting emotions evoked by the princess she is supposed to hate with a comedic, tender touch.Once again, the relaunch of Disney's classic titles is very much an exercise in gender restructuring, with female characters be they princess, heroine or villain given more depth and more action. Meanwhile traditional male roles have been flipped on their head. Dashing,(Download Maleficent) heroic princes have now become bumbling fools. Kings of strength and honour, now corrupt and tyrannical.Changed too is the approach to evil, which is no longer presented as a force but now must have psychological reasoning’s behind the ways of the wicked.Whether this means an end to the traditional structures of these stories and their characters remains to be seen. Yet as long as the performances and characters are as strong as those in Maleficent, let us be content (for now) to say: Prince Charming is dead. Long live the Wicked Witch.

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