Share All sharing options for: Fantastic Beasts: The Crimes of Grindelwald feels like a giant prologue for some other movie
As a deeply jaded Harry Potter fan, I sometimes have to make a conscious effort to lớn focus on the positives. So I think it’s worth noting that I didn’t have lớn try too hard lớn find some positives to lớn focus on in Fantastic Beasts: The Crimes of Grindelwald.
The second installment in the Harry Potter prequel series is now in theaters, and with it, author J.K. Rowling, who writes the screenplays, has introduced a host of serious wrinkles in her own established universe. The plot is confusing, disjointed, và seemingly devoted to lớn setting up a convoluted storyline that will play out in future installments.
Rating: 2.5 out of 5
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Watching the film feels a bit lượt thích being dropped into the middle of a very thick novel that’s full of words whose meanings you don’t know. Và this holds true no matter your cấp độ of Harry Potter fandom; Rowling does a ton of worldbuilding on the fly, and expects viewers khổng lồ roll with it and figure things out as they go. That’s difficult to lớn do, and it makes The Grimes of Grindelwald hard to lớn review, because it’s so obviously laying the foundation for some future film.
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But even given all of that, there are things to like about it; and the things to lượt thích are, I think, pretty interesting things!
It’s best not lớn think of Fantastic Beasts: The Crimes of Grindelwald as a standalone movie so much as a really long prologue for Fantastic Beasts 3
The Crimes of Grindelwald picks up where the first Fantastic Beasts film left off: with the dark wizard Grindelwald (the controversial Johnny Depp) sitting in jail after infiltrating the American magical congress. (Why he wanted khổng lồ infiltrate it in the first place wasn’t ever fully explained, but it clearly involved being generically evil.)
In the opening moments of the new film, Grindelwald dramatically escapes prison, leaving Professor Dumbledore — an inexplicably de-camped Jude Law — khổng lồ decide how to lớn respond. Dumbledore, who was canonically in love with Grindelwald as a teen và may have once been in a relationship with him, is either unwilling or unable khổng lồ fight him now, in adulthood, so he sends our anh hùng Newt Scamander (Eddie Redmayne) khổng lồ battle Grindelwald in his stead. This involves finding the one person who can effectively fight him: Credence (Ezra Miller), who we encountered in the first Fantastic Beasts film as a frightened orphan, confused about his identity & unaware of his own tremendous magical abilities.
The Crimes of Grindelwald then follows Newt as he attempts to locate Credence in Paris. It also follows Grindelwald as he attempts to lớn locate Credence, and as he launches what must be the most hastily assembled and disturbingly muffled political allegory ever thrown together by a writer capable of much greater nuance than this.
The driving force of The Crimes of Grindelwald’s plot — though it’s difficult to lớn refrain from putting sarcasm quotes around “plot” — is for Newt lớn find Credence before Grindelwald can, because the implication is that whoever gets to lớn Credence first will have the best chance at deploying his magic as a weapon for their side. (More on what those sides are fighting for in a moment.)
Along the way, the movie gets sidetracked by a tangled web of subplots. Characters keep tossing around fragments of prophecies whose origins are never properly contextualized và whose predictions are never fully explained. There are baby-killings, cases of mistaken identity, mysterious characters with mysterious backgrounds, dramatic flashbacks, & several different moments that disrupt the established canonical timeline of the Harry Potter universe in ways that are sure lớn break the brains of Harry Potter fans across the internet. There’s even a giant Chinese fire-dragon cat-thing that needs khổng lồ be dealt with. (It’s cute!)
But none of these subplots further the narrative beyond providing an occasional dramatic reveal that ultimately goes nowhere. Characters show up, deliver backstory & dramatic revelations, và then, more often than not, die.
The effect is basically that watching The Crimes of Grindelwald feels like staring at that spinning đứng top from Inception for two hours straight before eventually realizing it’s never going lớn fall over, because it doesn’t have enough mass to upset its inertia. There’s just no story, no substance. And what little substance there is essentially forms dramatic exposition for the next Fantastic Beasts movie.
It’s especially unfortunate that this wheel-spinning for the sake of expository thiết đặt was one of the chief complaints of critics who reviewed the previous Fantastic Beasts film. But the previous film had so much more actual plot than this one that by comparison, The Crimes of Grindelwald feels extra-flimsy and empty. At least in the previous film, there was a phối of clearly achievable objectives involving the rounding-up of a bunch of fantastic beasts!
But. But! vị we watch Harry Potter movies for the plot, or bởi vì we watch Harry Potter movies for the wizarding world? Because The Crimes of Grindelwald contributes beauty and a solid sense of setting & depth to the Harry Potter universe, và it deserves credit for that.
Fantastic Beasts represents an evolution for the Harry Potter franchise in a few interesting ways. In other ways, not so much.
One of the things I continue to admire and love most about the Harry Potter film franchise in its latter-day installments is how director David Yates, who has helmed all of the movies since the fifth one in the main franchise, remains fully committed lớn J.K. Rowling’s vision, no matter how obscure it might get. And let’s be real, Fantastic Beasts is a totally new franchise arc that’s headed who-knows-where, & Rowling’s vision is deeply obscured in The Crimes of Grindelwald.
Yet Yates, with the trademark mix of sensitivity, detail, và emphasis on sumptuous worldbuilding that he’s deployed in each of the six Harry Potter films he’s directed so far, manages to lớn make things work on his end. The Gilded Age wizarding world, Art Deco with a splash of steampunk, moves from vintage thủ đô new york to London và Paris over the course of the film, and it looks as lovely and inviting as ever.
While the magical elements can feel a bit paint-by-numbers at times, it’s clear that Yates, Rowling, và longtime Harry Potter screenwriter-turned-producer Steve Kloves are still thinking deeply about how lớn keep the details of this world feeling unique and magical. & I think, for the most part, they bởi feel magical; that is, they feel lượt thích a world I enjoy spending time in, even when I’m exasperated by the lack of story.
It helps that Fantastic Beasts’ characters are, for the most part, characters I enjoy watching. It’s hard khổng lồ overstate just how unique Redmayne’s Newt Scamander is within the annals of fictional heroes. Not only is he plainly and unremarkably neurodivergent, but he subverts typical onscreen representations of masculinity in refreshing & unexpected ways.
Rowling seems lớn have written him by consciously sidestepping the tropes of toxic masculinity, và the result is that Newt, however overshadowed he is by plot dramatics, always feels lượt thích the answer lớn the questions she’s trying khổng lồ ask about violence and propaganda & side-taking.
Unfortunately, those questions aren’t very well-posed. Grindelwald’s dark wizardry is a tangled mishmash of World War I-era fashion, militant Fascism disguised as leftist rhetoric, & concern-trolling about Nazis và World War II, designed to appeal lớn pureblood wizards of all races, including at least one character who’s coded Jewish.
What Grindelwald’s actual politics are beyond wanting Muggle genocide is anyone’s guess, but given that this film is arriving during one of the most politically confusing & polarized eras in recent history, it’s mildly worrying that Grindelwald’s actual message is as vague and “insert-your-own-ideology” as possible.
And then there’s Grindelwald himself. The sheer number of characters in The Crimes of Grindelwald means we spend less time with Newt and his core group of friends than before, but we arguably spend the most time with Grindelwald. & though Johnny Depp’s performance is notably subdued (for Depp, at least), Grindelwald still feels like the series’ flamboyant gay villain (a stereotype that’s exacerbated further due to lớn how toned-down and butch Dumbledore has become) — he’s always standing a little too close to his potential allies, always tacitly seducing them into joining him on the dark side, always being framed by the film as representing something irresistible and innately evil.
It’s weird and uncomfortable to watch, and I wish I felt lượt thích more of that weirdness & discomfort is because Grindelwald is a Nazi and not because he’s queer. (All of this potential association of Grindelwald’s evilness with his queerness is built into the narrative of the Harry Potter books, but given that so far, there are only two known queer characters in the entire wizarding universe, và given that one of them is an evil genocidal Aryan và the other one is in love with the evil genocidal Aryan, we can be forgiven for feeling a little queasy about how things are playing out.)
But commenting too critically on The Crimes of Grindelwald could, at this point, amount khổng lồ unfair speculation. Rowling is clearly in the middle of juggling eight or nine plot points at once, as she loves to do, và it seems somewhat futile to bởi vì anything more than stand back & let her at it, until we finally have a coherent 10-hour film that we can judge as a whole. What we clearly don’t have in The Crimes of Grindelwald is a movie; instead, we have a heavily fragmented, not terribly coherent piece of something larger.
Whether that other, larger thing eventually coalesces into the sparkling magical story we came for, or whether it disapparates into oblivion, remains lớn be seen. But for Harry Potter fans who’ve put their trust in J.K. Rowling for all this time, the best thing I can say about The Crimes of Grindelwald is probably this: It won’t make you want to lớn put your wand away any time soon.
