October 2016, a month since the release of Fantastic Beasts and where to find them, J.K. Rowling – best known as author for Harry Potter's best-selling books – announced that in the new spin-off prequel series will feature five films together. It was immediately clear that Warner Bros and Rowling chose Potterman's Milk for everything that was worth, without worry or the importance of how even the first one would enter the world. To complete these films – between five chapters, more than 10 hours of content would be needed – Rowling agreed to the great rivalry and frenzy of the relationship between Albus Dumbledore (Jude Law) and Gellert Grindelwald (Johnny Depp) in his first place, which she drew to in the corners of Potter's books throughout the years.
The end point of the Fantastic Beasts series is already known. Grindelwald will be defeated in a legendary match and closed, which will also bring the end of the world's magical war in parallel with the Second World War of Muggles. But since this has to be saved for the fifth and last meal, Rowling had to create new characters and stories that the public would care for and invest until we got to it. After choosing an awkward starting point in Newt Scamander (Eddie Redmayne), whose first trip was the Pokemon Go-adventure time, surrounded by dark conspiracies and rolls, Rowling now needed a transition to a brewery conflict between the magical and the non-muslim people. But not too fast, there are three more.
With the first continuation of the show – Fantastic Beasts: Criminals of Grindelwald – this sweeping and retrospective approach shows its side effects not only in a title that does not make sense and is simply made up of two completely different things for commercial reasons but also in what the screen goes on for more than two hours. Although much is happening from a visual point of view, with letters that always rush from one place to another, the film actually reaches very little during the time of implementation. There is a sense of The Hobbit for everyone, because it only spins for a while, because too much progress would damage future entries. Most of what happens is unsubstantiated or irrelevant, although at a given moment there are several sub-bases.
Grindelwald, who was caught at the end of the first film, is about to open the five minutes of the sequel, as this is required by the story. He flew to Paris to find orphans Credence Barebone (Ezra Miller), who is looking for answers to his real fertility in the French capital. Dumbledor asks Newt to go to Paris to prevent Grindelwald's plans and does not want to get involved until she learns that she has promoted Auror Tina Goldstein (Katherine Waterston), also from her sister Queenie (Alison Sudol) and her No-Maj the lover Jacob Kowalski (Dan Fogler), whose memory has been restored because this requires a story. Her former love, Lestrange (Zoë Kravitz), who is now married to his brother Thesus (Callum Turner) and the French-Senegalese magician named Yusuf Kama (William Nadylam), are also in the mix, looking for answers, working with the Ministry of Magic and on the quest for revenge.
Rowling's decision to send returns and new signs on separate journeys would be fine if everything went smoothly to something important. But the film culminates in a grinding speech by Grindelwald and changes loyalty to certain characters, followed by a terrible climatic "battle" between two CGI-produced waves of blue and orange. For what is worth, the creatures – new and old – no matter how strange, including one, called Zouwu, who looks like a big cat with an incredibly long, colorful tail, is wonderfully revived with top-notch visuals effects. But they inhabit a world that is empty and boring. And if they want to be more gloomy than the original, the Grindelwald crime has thrown the edges of its characters, which are not as charming as they were before.
It does not help many people hanging with a little connection to the story. This applies to the new companion of Credence, Claudia Kim, who is cursed with a blood curse that she will finally see to be permanently transformed into a snake that becomes a Voldemort pet, which of course was very controversial and criticized for Rowling's decisions and negligence. The same goes for Nicolas Flamel (Brontis Jodorowsky), a hundred-year-old alchemist who is thought to have discovered the Philosopher's Stone, which accidentally fell into The Crimes of Grindelwald without any apparent reason. But even signs that have great discovery in the film, such as Years and Credence, do not fit the right weight because the audience has not yet developed a connection with them.
Due to the deterioration of things, the film dialogue seems to coincide directly with the audience. The characters mention each other things that they should be aware of – one explicitly remembers the other's death of their relative – which makes their conversation seem completely unnatural. This is one of the obvious ways in which the Grindelwald crime deals. But even if they deal with implicit messages – through Credence, Rowling tells us that others in the world of others hide their true self and get to know about their past – there is nothing interesting about the film on these topics. Hunting on Credence, who it is and where it comes, reminiscent of Rey's journey to Star Wars, but contrary to the approach Ryan Johnson took with The Last Jedi, Rowling further limits his space and does not allow extension.
The fact is that George Lucas's time with Star Wars is a good parallel to Rowling's collaboration with the Fantastic Beast series. At the turn of the trilogy, Lucas gathered at the turn of the century and created new signs that seemingly existed only to be connected with the elderly and to change mythology and then the canon. Star Wars did much better, as Lucas sold this Disney, and perhaps Rowling's space could also have been done by the original creator carrying the torch. Although Potter has inflated well-written hundreds of pages of novel novels with a two-year speed or less, she failed to translate this success into scripts. There is little sense of what Grindelwald's crime is, and when trying to serve an ensemble, while paying close attention to a large picture, Rowling does not succeed in creating a narrative story that is interesting, meaningful or even pleasing.