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‘Fifty Shades Freed’ review: Dakota Johnson sparkles in the most competent of the trilogy

Dakota Johnson and Jamie Dornan tie the knot

Dakota Johnson and Jamie Dornan tie the knot in "Fifty Shades Freed," which wraps up the trilogy. Photo Credit: Doane Gregory

PLOT The third installment of the erotic drama finds Anastasia and Christian dealing with married life and other travails.

CAST Dakota Johnson, Jamie Dornan, Eric Johnson

RATED R (strong sexual content, nudity, language)


BOTTOM LINE Johnson sparkles in the most competent of the trilogy.

“Fifty Shades Freed,” the final film of the trilogy, just might be the most competently made yet — which is a shame for those expecting the high camp factor of “Fifty Shades Darker.”

In “Freed,” Seattle book editor and weekend sexual submissive Anastasia Steele (Dakota Johnson) has managed to pin down her dom daddy, Christian Grey (Jamie Dornan) — in holy matrimony. Their relationship has always been more of a power struggle than a partnership.

The plot, which drifts from scene to scene, casually inserting kidnappings and car chases among the lavish vacations and sexy romps, involves Anastasia’s former boss, Jack Hyde (Eric Johnson), seeking revenge on the recently married couple. He was fired after attempting to sexually assault Ana, but it turns out he’s got a much longer history with the Grey family than they thought. When Jack isn’t abducting members of their family, Christian and Ana struggle to decide when or if they’ll have children, which is definitely a question one should have thought to bring up before the fairy-tale wedding and European honeymoon.

Christian, who has all the charm of a textbook narcissistic psychopath, wants to keep Ana to himself, wants her life to “begin and end” with him and pouts that babies ruin sex. When she declares, “You’re my whole life,” it’s presented as a romantic declaration, not a giant red flag of an emotionally abusive relationship.

Ana seems to know this, and she seems to be OK with it, flipping every troublesome spat into another excuse for him to sexily punish her in their play room. But processing all of your problems through sex isn’t healthy, and in one moment, Christian crosses the line, anger, not love, motivating his actions. It’s the film’s one exploration of necessary boundaries in a BDSM relationship. Otherwise, the dom-sub thing extends too far, as Christian controls every aspect of Ana’s everyday life. She exchanges her freedom for this fantasy life of preposterous wealth.

Dakota Johnson makes the otherwise boring Ana sparkle. She is the MVP of “Fifty Shades,” with more than enough insouciant charm to make up for Dornan’s dour performance, and she never takes the material too seriously. She even has the ability to deliver an angry, character-defining monologue while topless and pulling on pantyhose.

It’s a relief Johnson is now free to brighten up better projects that are more worthy of her talents.

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