Oh for Midas touch J.K. Rowling, with his divine chip for spinning and earning.
Harry Potter's movie franchise (regardless of books) reached nearly $ 8 billion, its Cormoran Strike romance became a renowned series of BBC dramatic films, and in 2016, its pretenders fought Fantastic Beasts and where they found them. This film was marked by her first scriptwriting debut and is also the author of this sequel, a windy, foggy affair, in which the honorary wizard Newt Scamander (a kind of donor mession played by Eddie Redmayne) comes face to face with a break.
In my good time, I mean you. The 2016 film, the first Rowling film that was not based on a fully-formed, already existing novel, proved to be useful because of this lack of creative burden and really flew, sprinkled with seams with a visual invention and almost did not have the boring moment. In my opinion, it was better than any of Potter's films, but this time the beast is out of the bag, which means that it means that all participants have to work harder. The Scamander's brushless make-up suit was a little old hat and a deeply pleased wizardly wizard Colin Farrell was replaced by a more troubled baddie.
At the end of the first film, the magic wizard Gellert Grindelwald (Johnny Depp) was shown in the burning Graves, which turned into a form that is a stout maniac who wants to destroy the magic world order and replace it with a new one. As Fantastic Beasts 2 opens, he cools his heels in the Prison Department of Manhattan in 1920 when he seizes the opportunity to escape.
Grindelwald, dressed gothically and is at all times surrounded by foppish flunkies, which look like supplements from the video Marilyn Manson, wears a special animus against Albus Dumbledore. Once they were solid friends, but they avoided, and because Dumbledore (Jude Law) had formed a blood patch with Grindelwald, he can not oppose it. So, when Grindelwald is preparing to release the dogs of war, the question is who will it?
Newt's elder brother, Tesus (Callum Turner), works on a rather fascist-sounding ministry of witchcraft and invites his sisters to join the hunting of Grindelwald. Newt rejects – breaks politics and takes care of only those strange and wonderful endangered creatures left by the wizardly despair. But when Dumbledore appears, Newt is convinced that he will join the fight.
Fortunately, because it is very funny, Alison Sudol's reputable New Yorks queen Queenie returns, as well as her unhappy Muggle's fiancée Jacob (Dan Fogler), who accompany Scamander in a strenuous expedition to Paris. Newt may seem carefree, but he is greatly impressed by Tina Goldstein (Katherine Waterston), the fodder but handsome American Auror, which he created in fantastic beasts and where to find them. It also seems attractive Leta Lestrange (Zoe Kravitz), a talented but complex old Hogwarts classmate. But she was dealing with Newtown's brother, and this is just one of the complex relationships that the Grindelwald scheme will seriously test.
He will also try out patience. While the original film is compressed during breathing, The Crimes of Grindelwald continues with a strangely brave pace that falls in love with gloopic special effects, which usually round the actual drama. Redmayne is pretty good as I thought Newt, though his rather eccentricity seemed a little more researched this time. And while Jude Law is excellent as a young and enthusiastic Dumbledore, we do not see much, probably because he is in reserve for the next meal.
Unfortunately, we see a lot and a lot of Grindelwald, a greasy, minor, who is very interested in the sound of his voice. Did Depp forget about taking action? Do you have five excursions when the pantomime lady Jack Sparrow smashed her rainbow compass and what residual feeling of restraint?
In this film, he chose silence as a weapon: his Grindelwald settles on a stage with terrifying threats, whispering orders of poisons into the ears of his pods. He speaks, of course, with a British accent and sounds like Tory Brexiteer, who was in the sherry.
It is impossible to take it seriously and leave a pretty hole that should have a threat on the Ralph Fiennes Voldemorte rankings. This is the biggest problem in the movie, which is fun at points and boasts some impressive effects, but there is no patch on its predecessor.
Fantastic beasts: the Grindelwalda crimes (12A, 134mins) – 3 stars
Movies are coming …
The Girl In The Spider's Web (Claire Foy, Sverri Gudnason, Stephen Merchant, Vicky Krieps); Robin Hood (Taron Egerton, Jamie Foxx, Ben Mendelsohn, Jamie Dornan); Traders (Lily Franky, Sakura Ando); Camino Voyage (Glen Hansard).
Suspiria (18, 153 min) – 3 stars
Sicilian writer / director Luca Guadagnino is among the leading lights of contemporary Italian cinema, the author of such elegant and sharp individualistic dramas as I love and calls me by the name that Oscar won last year. It takes risks that are not always excluded, but the results are always interesting: Suspiria is no exception.
This is in a sense a remake, a 1977 film starring Daria Argento, starring Jessica Harper. She is Dakota Johnson (with 50 celebrities, but this is not against her) leading this production and playing Susie Bannon, a young American dancer coming to West Berlin in the late seventies to audition for a prestigious dance company. Markos is led by the legendary former dancer, Madame Blanc (Tilda Swinton), an elegant honorable woman who will not accept anything less than excellence. She thinks she has found Susie, who comes from Ohio's Mennonites community and has no obvious experience, but she has an electric audition. She accepts her and moves to the old building of the company. But meanwhile, one of the other dancers disappeared, and some time before Susie suspected that something was rude. It's witchcraft, people and disgusting things are hiding in the basement.
In most cases, Suspiria is splendidly combined, the shadow of a shadow filled with a horrifying grape. Sesulja vas and a series of dark erotic dance sequences promises to develop a truly special film. But this never materializes, and after a good start, Suspiria drops into the lurid Guignol. Miss Swinton plays several roles, including an older male psychiatrist, but it seems to be without a doubt, and the basic themes of the story about triggered female power and sexuality are only thoroughly researched.
Sometimes nice, on other grotesquely, is ultimately superficial.