Renesmee is the only character that you come to care for, but only because she’s in a predicament she didn’t put herself in. The film can barely provide a sense of suspense for all the bad things that seem to be escalating, and there’s no positive breathing room between everything that happens, only corny conversations between the characters that whine more than they make you feel for the characters. Irina informs the Volturi, and Alice begins to see visions of the Volturi attacking the Cullens. At least the bleeding wolves have stopped talking.After an encounter between Renesmee and Irina, it is known that an immortal vampire child is forbidden, and is bound to be executed alongside anyone who’s found with her. Most pleasantly surprising is the climactic battle sequence, a sharply directed no-holds-barred blowout that achieves genuine thrills but a painfully misjudged final twist undoes much of its good work.īetween its farcical script, soulless relationships and waxwork performances, this is a final chapter that will please only the most devout fans. There are too many laugh-out-loud ludicrous moments to count – Bella and Edward’s raw, animalistic undead sex is distinctly less of a bang than a whimper, while Jacob’s (Taylor Lautner) wolfy love bond with little Renesmee is every bit as creepy as you’ve heard.īut it’s not all bad Michael Sheen’s on top scenery-chewing form as creepy-camp Volturi leader Aro, and look out for a brilliantly self-parodic sequence involving Bella’s poor dad (Billy Burke) and Lautner’s trademark shirt-stripping. Instead, the plot centres on their hybrid daughter Renesmee (Mackenzie Foy), who’s marked for death by sinister vampire coven the Volturi.
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