There are the never-ending conspiracies against the monarch, seen in hidden correspondences from Mary and Philip. The stakes are apparently higher this time around, with an assassin infiltrating the court and the Spanish ambassador and king merely waiting for any perceived act of war, but they never feel that way. The complex relationship between Elizabeth and Mary is absent. Mary is a power-hungry conspirator, and Elizabeth only feels conflicted about the necessary measures to keep Mary's plans from fruition until it is far too late. Whatever possibility of a love story between Elizabeth and Raleigh exists is sidestepped for an underwhelming love triangle when Bess and Raleigh fall for each other. Even the reason for a potential romance seems a forced attempt to humanize the queen; her desire for Raleigh is intercut with scenes from the first film showing her a happy, naïve girl. Whatever longing for innocent days of old she might have are abstract and never felt. The cast seems to realize the problems and react by either overcompensating or going along for the ride. Cate Blanchett's performance is big, bold, and brass, a complete turnaround from the subtle nuances of the first film. It's not a bad performance, just different—a reflection of the movie's shift of her character. Clive Owen sometimes appears uncomfortable, and the charms he possesses as an actor are absent. Samantha Morton is sadly underused as Mary, reduced to a conniving villainess, and so is Rush as Walsingham, sent to the sidelines instead of actively scheming in the queen's favor. There's a big, explosive sea battle that has a tone and attitude that's completely out-of-place, and the appearance of an astrologer (David Threlfall) and an unnecessary comic sequence involving a foppish suitor feel the same way. There's just too much happening and not enough depth within those events to warrant the excess of information. The film looks fantastic, though. Kapur once again assembles a fine technical crew to capture the elegance of Elizabeth's court, and most of the time, it's better to admire background decorations, the lighting, and the costumes than to pay attention to the dialogue. I don't dislike the movie, but I am severely disappointed with it. Elizabeth: The Golden Age is gratuitous on a narrative level (both by following a complete film and in its structure), but the spectacle on display deserves a certain level of admiration. This is more pageant drama than historical speculation.