Stewart’s darkly brooding looks are convincing, but her lonely-girl blues soon grow wearisome, as does the spinning camera. This act of cruelty throws her into a long depression that the director Chris Weitz (“The Golden Compass,” “About a Boy”), having taken the filmmaking reins from the sloppier if more energetic Catherine Hardwicke, tries to translate into cinematic terms, mostly by circling Bella with the camera as the months melt away. Dead or alive, men can be brutes (authors too): he also tells her that she’s not good for him, leaving her bereft. Abstinence is the name of this franchise’s clever game a demographically savvy strategy that the filmmakers exploit with a parade of bared male chests which is why Edward refuses to stick his teeth in Bella’s unsullied neck, despite her increasingly feverish pleading.Įdward saves Bella, but soon decides to split town. That’s particularly the case here given that Edward belongs to a stylish vampire clan that has given up human blood in order to live, if conspicuously out of place, in a Washington town called Forks.
#CAST OF NEW MOOM SERIES#
When last we saw Bella (Kristen Stewart) and her pretty dead guy, Edward (Robert Pattinson), in “Twilight” the series hadn’t been saga-fied yet the two had pledged their troth, a chaste commitment solidified during moody walks in the woods, some exhilarating treetop scrambling and a knockdown fight with a pack of vamping vampires.īut love is cruel and sometimes so too are multivolume juggernauts like Stephenie Meyer’s “Twilight” series, which, because they need a prolonged shelf life, are as much about narrative delay (and delay) as release and resolution. The big tease turns into the long goodbye in “The Twilight Saga: New Moon,” the juiceless, near bloodless sequel about a teenage girl and the sparkly vampire she, like, totally loves.
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