We all know her, or somebody like her. That slightly awkward girl with too-big features who has really bad taste in men. Some of us might even be her. In Maleficent, Disney’s Wicked-style treatment of their very own animated classic Sleeping Beauty, the metaphors are ironclad and heavy, the characters as broad as archetypes can possibly be, and the visuals blandly classical, but the story, of a woman wronged by a heartless man, is one that may be irresistibly engrossing. The film never quite hits the graceful note it seeks, but it’s a valiant effort, with strong-willed actress Angelina Jolie doing most of the heavy lifting.

Jolie, as the grand high villainess with a certain killer fashion sense (the snakeskin headdress is our fave), is shown to be capable of high heroics along with dastardly deeds in this story of a fierce forest fairy seeking revenge after being violated by a man who will stop at nothing to become king. And the violation is felt deeply, in a bold scene in which Angie reminds us of her equally fierce acting chops. But it doesn’t always come easily for her here, since she is pitted against many visual and directorial choices that detract from the film instead of enhancing it.

First off are those cheekbones. They are completely unnecessary, and distract from her performance. Many of the ‘classic’ fairytale cues are so spot-on from the animated film, they ultimately have a clunky or unimaginative effect in live action. The universe of Maleficent is woefully unbalanced: while the magical realm of the ‘Moors’, the enchanted wood beyond the castle, is whimsical almost to a fault, the human world is so classic, that it leaves no room for even the slightest inventiveness. The fairies charged with Aurora’s protection, who were arguably the most delightful part of the animated classic, are literally lifted out of that film and plopped here, without any real motivation or inspiration (and this is not for lack of trying on the part of the talented actresses who play them—veterans Imelda Staunton and Lesley Manville, along with the gifted young Juno Temple). Much like the cheekbones, they never quite work.

And then there’s Elle Fanning, who might have the toughest challenge of all—how do you play a character who, at birth, is enchanted to become a beautiful and graceful creature who is happy all the time? How do we care about her in the slightest? She is another classic fairytale item dumped into this dark world, and she does her best with what is given.

Nonetheless, there are moments in Maleficent that satisfy, moments that reinvent the classic story and give us a deeper look into what’s going on—the scene involving True Love’s Kiss is a successful twist. The story is all in keeping with the familial metaphor of an absentee and malicious father figure, victimized (raped, even) but doting mother figure, and a child who wants answers.

Without giving too much away, Maleficent’s ultimate message might be a little troublesome, as this revenge fantasy (in both the literal and figurative sense) doesn’t quite go the way you might expect. But it’s hard not to root for that awkward girl when she finally gets to confront that no-good guy.

—DH