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"Fantastic Beasts: The Crimes of Grindelwald": Apocalypse too soon

The team behind "Fantastic Beasts: The Crimes of Grindelwald" throws the last episode at J.K. during this rumbled distraction of two hours and more. Rowling verse. As so often in a Rowling production, evil rises and permeates both human and magical areas such as poison gas.

But since Rowling builds worlds, what Grindelwald has is a lot of history. The movie is packed with stuff: titular creatures (though not nearly enough), attractive people, limping extras, eye-catching locations, tragic flashbacks, tearful confessions, and largely bloodless, spectacular violence. It is an embarrassment of wealth, and it suffocates.

[ Read our review of "Fantastic Beasts and where to find them" ]

Since then, not much has happened to the last film; Mostly, people and parts were moved in preparation for the next big storytelling step. Again Newt frolics, while unfaithful deeds unfold in separate storylines. One is dominated by Gellert Grindelwald (an absolutely unforgettable Johnny Depp), a wicked magician who looks like he's been in flour (and who has recently appeared in the more flattering form of Colin Farrell). Grindelwald consolidates his power and has big plans. These have become more transparent as Fascism has entered history. The threat of totalitarianism lends a dark meaning to all violence and ugly expressions such as "pure blood".

Rowling is a literary magpie and a world-class synthesizer Harry Potter's books range from classical mythology to Jane Austen. Traces of the Bible, Shakespeare, Tolkien, and other Western-lit brackets are sprayed in this series and therefore also in this series. Although they are intentional, they are part of a cultural database that is as intelligent as it is appealing. (The influences are flatter, but do not overwhelm the readers and offer various interpretive portals throughout history.) Given some of these influences, it is not surprising that the series is touched by death. Given the history of the story, it is no surprise that it has turned into an apocalyptic war history.

A dreary, violent end – and the hint of a worldwide catastrophe – already in the first scene of "The Crimes of Grindelwald. The film is directed by David Yates and written by Rowling. The film begins with a violent, visually chaotic prison eruption that elicits Grindelwald and sets the angry mood. The bad times hurry along with the various bad guys who bring escalating violence. By the time Newt materializes with his magical suitcase, in which he often contains his roaring, usually rushing Menagerie (usually sometimes), the film already looks like a serial finale. It's so full of foreboding that even the wannabe mood feels like leaked.

The darkness forms an astonishing contrast to the first film, which usually contained much narrative stage design, including all the funny, malicious introductions. Most of the characters are back, including Tina (Katherine Waterston), a type of law called the Auror, and Newt's saggy romantic slide. One of the disappointments of the Fantastic Beasts films was the casting, which has little of the wit and powerhouse talent of the Harry Potter series. Redmayne can be a sensitive presence, but if he's not well-steered, his fluttering and dismissive looks quickly become a provocative blow. If Newt has a depth, it seems unlikely that a confusing, trembling Redmayne will open it up.

That the content of Newt's suitcase is always more interesting than he is also a problem. Rowling repeatedly tries to make him and the mysterious credo (Ezra Miller) the center of the story. However, her attention returns almost wistfully to the funny, charming side players of the film, in particular Queenie (a delightful Alison Sudol) and Jacob (the equally appealing Dan Fogler). They do not share the pedigree of Newt or the ominous threat of Credence. they are side dishes. But they have the charming peculiarities and human weaknesses of Rowling's best creations, and they turn out to be the ones that interest you most.

On this site, Rowling is a master of storytellers, easily calling them into your mind without ever having seen a single adaptation of their work. What occasionally unbalances her is the plot structure – the arrangement of all her attractive, swirling parts. Steve Kloves, who wrote all but one of the Harry Potter films, had the gift of filming Rowling's ever-expanding novels with all their detours and spicy details. However, here Rowling has surrendered to her maximalistic tendencies and so stuffed up the story that you spend way too much time trying to answer the question of who did what to whom and why.

His talent and behind-the-scenes talent ensure that Grindelwald's Crimes is scattered with small, mostly decorative pleasures – filigree filigree calling on old worlds, the stray Elf recalling past adventures also features the Zouwu, a charming monster with a feline face and a long body that swirls like a Chinese Dragon around the Chinese New Year, putting everyone who grabs the screen into the picture at the time Rowling compiled all her storylines and a drowsy Zoë Kravitz, as the lanky Leta Lestrange, leads you through another digression, the film has detached you, which only gets exciting as the tale moves temptingly to Hogwarts, where Dumbledore has fond memories and the promise of better stories expected.

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