'Fifty Shades' Duller

Despite a change in directors, “Fifty Shades Darker” is not much of an improvement from last year’s “Fifty Shades of Grey.” Both “Grey” and “Darker” are adapted from the erotic novels by E.L. James, and both try and fail to escape the clunky dialogue and clichéed plot of their fanfiction roots. Dakota Johnson and Jamie Dornan reprise their roles as Anastasia Steele and Christian Grey, the series’ seemingly star-crossed lovers, but James Foley replaces “Grey” director Sam Taylor–Johnson—presumably in a (miserably futile) attempt to rescue the sequel from the mediocrity of the first installment. As it turns out, “Darker” suffers from the same lack of plot and cardboard–cutout characters that plagued its predecessor.

Foley has an impressive resume for someone heading up a softcore pornographic film with a massive budget, including director credits for both “Glengarry Glen Ross” and a number of “House of Cards” episodes. Even his experience with taut, witty drama, however, could not save a film that has little in the way of plot or character to speak of. The film opens a short time after the dramatic conclusion of “Grey,” in which Ana breaks up with Christian due to his sadistic sexual needs. Ana seems eager to move on, while Christian clearly can’t, setting up what looks to be a long chase—Except that, less than fifteen minutes into the movie, Christian has managed to convince Ana to come back to him. He has changed since she last saw him, and he says he is ready for a real relationship, without a contract, rules, or punishments. After this too–speedy resolution, however, the storyline is basically over.

Perhaps this is unfair—there are side plots and challenges thrown at Ana and Christian, at times seemingly at random. This dynamic duo faces down a creepy boss, a suicidal stalker, and even a totally unexplained helicopter crash. Because these obstacles are so clearly and unnaturally fabricated to drive drama, there is never any doubt that the couple will overcome them easily. Even the problems that occur between Ana and Christian are easily resolved by fresh acts of shirtless physical intimacy on Christian’s part (in a climactic scene, he even lets Ana touch his chest!). Their relationship seems invincible, not because these characters in any way belong together but because the screenwriters cannot let them break up.

In the end, only one of the obstacles that Ana and Christian face is a genuine challenge: Elena Lincoln (Kim Basinger, doing yeoman’s service in an underserved role), Christian’s sexual mentor. Elena is a different kind of threat because she represents the doubts that Christian himself has in his ability to change. She thinks Christian can’t ever be the type to settle down, and is clearly emotionally invested in this notion. Her comeuppance is the highlight of the film, but even this moment is tinged with disappointment—what could have been a major conflict of the film is reduced into another hurdle, easily overcome in Ana and Christian’s inexorable march towards happiness.

Those coming to theaters not for plot but for beautiful naked people are well served. “Darker” is just as action–packed as its predecessor, including one gym scene that can only possibly be described as “Christian Grey Fan Service.” There are other legitimate reasons to enjoy this movie, or at least prefer it to “Grey.” The music is often great, and well–synced with the action going on onscreen. The overall mise–en–scene is lighter than the previous film, less dominated by greys and blacks. There are many moments of hilarity, unintentional or not, that can sustain even the most antagonistic viewer (including memorable lines such as, “No, you’re not putting those in my butt”). Overall, however, this is softcore porn with nearly wooden acting from its male lead and very little in the way of plot or character development.