“The Twilight Saga: New Moon” hardly needs an introduction. As the second film in the massively popular vamp-romance series authored by Stephanie Meyer, ‘New Moon’ earned high expectations thanks to one of the most extensive and hormone-centric marketing campaigns in recent memory. The first ‘“Twilight” had more than its fair share of problems, but its surprising intimacy, at least for a blockbuster, made for something of a guilty pleasure. ‘New Moon,’ unfortunately, is an entirely different creature (and I'm not referring to the werewolves).

Dreamy vamp Edward Cullen (Robert Pattinson) and shy Bella Swan fell head-over-heels in love in the first film, and 'New Moon' tackles the complications that their love must now endure; namely, the fact that much of Edward’s family would like to drink Bella's blood and kill her...on her birthday. (You know, same old same old.) Moving into different narrative territory, 'New Moon' focuses on the burgeoning relationship between Bella and old friend Jacob Black (Taylor Lautner) after Edward disappears (selflessly, of course), a shift that leaves us missing the excitement of "Twilight" and with the feeling that Edward and Bella's feelings are ones of obsession, not love.

For those who haven’t read the books, yet still care enough to not want anything given away, I’ll just explicate that Bella largely treats Jacob as a shoulder to cry on, a walking anti-depressant and an enabler of poor decision-making. And yet Lautner's sad-sack character is the most compelling in the melodrama that is 'New Moon.' Bella and Edward are such utter depressives that it becomes hard to believe anyone could have affection for either, as Stewart and Pattinson attempt to turn their insipid lovers into tragic Romeo and Juliet types—a suggestion the film heavy-handedly conveys. This registers as much more ‘emo’ than emotive, and 'New Moon' begins to seem like a sell-out blockbuster as soulless as Edward thinks he is.

Most perceptible are the continued scripting issues. Screenwriter Melissa Rosenberg adapts these books with the gusto and veneration of a 13 year-old girl, frustratingly retaining all the disgustingly quixotic declarations of love and loss. Rather than grasping and focusing on the more interesting bits of the relationships and characterizations, Rosenberg embraces her inner tween and relishes in the superficiality of the series’ romance. Of course, she knows her intended audience and writes for them, but she ignores nearly every element of the books that makes them tolerable for those of us who aren’t teen girls.

Directorially, Catherine Hardwicke’s work on “Twilight” was certainly flawed, but her handheld camera sequences lend that film an intimacy that the manufactured and maudlin “New Moon” sorely lacks. Admittedly, new director Chris Weitz’s presence is positively felt in certain areas—notably the improved visual effects, especially during a climactic fight scene with the Volturi (the ruling class of vampires, played by Michael Sheen and Dakota Fanning in equally unflattering cameos). Unfortunately, the 'sparkle-skin' treatment is also carried over from the first film, and while better this time around, is still mostly an eyesore.

I'm aware that this isn’t “Romeo and Juliet.” Certain concessions to rational behavior and adult perceptions of romance need be put aside to enjoy what little delights this series offers. And as was the case with "Twilight," the appeal of 'New Moon' lies in indulging our romantic, idealistic and even naïve selves. But at least the indie, relatively low budget air of the first film vibed with the hyper-realized world and romance of the book, whereas the blockbuster status of 'New Moon' is less endearing. And with such laughable dialogue as Jacob’s “I’m bad!” proclamation throughout, it isn't long before one realizes the movie, too, is just plain "bad!"

==Written by Luke Gorham==

==From: In Review Online (www.inreviewonline.com)==

For the second film installment of the phenomenally popular book series by Stephanie Meyer, Twilight director Catherine Hardwicke is replaced by Chris Weitz (The Golden Compass). Weitz was a fine choice for New Moon, and quite possibly saved the film from becoming disastrous. What appealed to me personally so much about the first film was the cinematography and its ability to capture the mood and sometimes dark atmosphere. Weitz’s ability to convey these attributes and his handling of the action sequences helped prevent the film from turning into a long and drawn out mess.

New Moon picks up shortly after where Twilight left off in regards to the plot, with the addition of a few new angles. In this saga we’re introduced to the Volturi, the sort of royal family of the vampire realm that includes one of my favorite up and coming stars Dakota Fanning as Jane. The Volturi were very interesting to me and built on my interest in the mythology behind the vampires in this story. In addition to the Volturi, the werewolf secret behind Jacob’s tribe is revealed which provides a lot of the film’s action. Also a few familiar faces return to obtain vengeance against the Cullens and Bella (Kristen Stewart) in particular. On top of all that, Bella is faced with personal dilemmas involving her relationship with Edward (Robert Pattinson) and her new found bond with Jacob (Taylor Lautner).

The Twilight films have no doubt developed a stigma that solely associates them with younger female viewers. While these observations aren’t completely unfounded, they are unfair. As an adult male who’s never read any of the books, the movies appeal to me very much. I’ve always had an interest in the mythical vampire, and Meyer’s take on them seems relatively fresh. However, the story revolves heavily around a romance with its young female heroine. This aspect is where the series potentially loses its older male audience. Either way, I still found New Moon, in continuance with Twilight, to be a joy to the eyes as well as the imagination.

With that said, there are a few areas in which the film will cater to only its target audience. Perhaps the biggest downfall of this film for me was the runtime. The two-hour film can seem drawn-out at many times, especially in scenes involving Bella and her male companions. These scenes play out as I would expect a romance novel or soap opera would. For this reason alone, I surely do understand where the anti-Twilight fanatic might have his qualms. However, if one can get through these portions of the film, the rest of it is a stunning display of excellent visual effects and nicely shot scenes in beautiful locations.

In regards to the acting, there is a bit of discrepancy. There is much debate especially over stars Robert Pattinson and Kristen Stewart’s abilities. Negative opinions on these two specifically seem to me a bit misconstrued. While I do agree that several moments in dialog with these two specifically seemed a bit artificial and over-dramatic, I do not blame the actors but rather the writing. Having not read the books I’m unsure whether their lines are faithful to the book or if their inadequacies are a result of a poor script. Either way, I would encourage the skeptic to view Stewart in The Cake Eaters (2007) and Pattinson in How to Be (2008) prior to any judgement.

The rest of the cast made do with their lines as well. I thought Billy Burke as Charlie Swan continued to be the most realistically portrayed character in the film. Taylor Lautner with his new and beefed up appearance was also better than I expected. Anna Kendrick as Jessica is another example of a great actress given fairly poor lines (albeit funny in a few scenes). Kendrick was brilliant in 2007’s Rocket Science and from the sound of things she equally impressed in this year’s Up in the Air alongside George Clooney. Additionally, Ashley Greene was given a little more time in the spotlight as Alice Cullen in this chapter and I felt she did a wonderful job.

If you’re simply not a fan of the genre or didn’t enjoy Twilight, chances are you probably will not like New Moon. For me, I felt the film did a good job building on the story and I thoroughly enjoyed the new characters that were introduced. In addition to Weitz’s ability to elude boredom he also added a bit more artistic elements to the picture, such as the astounding panoramic scene in Bella’s bedroom where the seasons go by. When taken for what it is, the film is an enjoyable fantasy piece that, while lacking mainly in the writing department, has a strong cast portraying very interesting characters. It does seem to cater to the younger audiences at times but all-in-all it is a very fun film.

==Written by Nicolas ==

==From: Critic Nic (www.criticnic.com)==

New Moon, the second in Stephenie Meyer's blockbuster teen-fiction saga adapted for film, is stronger than its predecessor, Twilight. Director Chris Weitz (The Golden Compass), taking the helm from Catherine Hardwicke, brings a lighter, more assured touch to the sequel, which continues the star-crossed love story of mortal Bella (Kristen Stewart) and vampire Edward (Robert Pattinson). Incidentally, Edward is absent for most of the film; after an accident on Bella's birthday reminds Edward that her life is always at risk when he's around, he chooses to abandon her, sending her into a deep depression. The only person who helps her heal her broken heart is her friend Jacob (Taylor Lautner), a member of the Quileute tribe who, as he grows taller, beefier, and more aggressive (with less clothing), comes to realize he's not entirely human either. But even his love for Bella doesn't prevent her from throwing herself in the path of danger, because that's the only time she can see visions of Edward. One such fateful misunderstanding sends Edward into the coven of the Volturi (a sort of vampire Mafia, if you will), where the most dangerous vampires hold both Edward and Bella's fate in their cold, dark hands. Much of New Moon rests on the shoulders of Lautner, so scrawny in Twilight, who famously packed on the muscle to avoid getting recast. He's very nearly successful in carrying the load, but the cheese-tastic beefcake scenes disservice him, and Jacob and Bella's complicated friendship stumbles on its way to any kind of love triangle. Some of that blame lies with Stewart, who understandably holds her emotions close to her chest but reveals much too little (c'mon, even an angsty girl has to be a little joyful in the arms of two different hunks). As is with the book, the film is just a bridge between sagas, so the plot drags and not a lot happens. Fortunately, while Twilight was trapped in its own self-consciousness, the wobbly-legged cast seems to have found stronger footing in New Moon; the jokes come faster, the writing (by Melissa Rosenberg, who also scribed Twilight) is a hair wittier. (Even Pattinson seems more comfortable in Edward's skin.) The Volturi, highlighted by Michael Sheen's Aro and Dakota Fanning's Jane, also make an all-too-brief impression, but at least there's more to look forward to when Eclipse, the third installment, is released. --Ellen A. Kim

Stills from The Twilight Saga: New Moon (Click for larger image)