Darker hardly hides this, and gets into trouble when it pretends not to care about Christian Grey’s riches. Where were the guffaws when Ana described cunnilingus as “kinky f––ery,” as if it weren’t an integral part of modern-day, plain-vanilla lovemaking? Where were the scornful hoots when Christian, in response to Ana’s comment, “I didn’t know you had a place in Aspen,” quipped “I have a lot of places”? Especially in this Trumpian era, can we not at last openly mock such one-percenter smugness?īut of course, the desire to be swept away by Prince Bucksalot is more central to the Fifty Shades brand than any curiosity about non-mainstream sexual gratification. There was a lot of snickering at that screening, in fact, though some scenes inexplicably slid by without mockery. A concluding installment is already en route expect diminishing returns every Valentine’s Day. But he and screenwriter Niall Leonard can hardly milk enough novelty out of these new villains to win back fans who felt burned by the first film. Taking the series over from Sam Taylor-Johnson, whose Fifty Shades of Grey earned jeers alongside its $570 million worldwide haul in 2015, Foley has the job of introducing some external threats to the unlikely coupling of Dakota Johnson’s Anastasia Steele and Jamie Dornan’s Christian Grey. James’s best-selling S&M fairy tale, goes rather in the other direction, replacing most of the first installment’s talk of master/servant dynamics and contractually delineated sex play with more lovey-dovey hoohah than most self-respecting rom-coms are willing to deliver. “Darker”? James Foley’s Fifty Shades Darker, the second big-screen outing adapting E.L.
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