THere are three key components that contributed to the success of this first set of spin-off releases. A disheveled shrug of Eddie Redmayne like Newt Skamander; A vision of the twenties of New York, reflected through dark magic glasses, which had become surprisingly familiar and unexpected. And of course, there were animals. One of the main problems with clutter The Grindelwald Crimes Is that two out of the three went down to supporting roles.
Redmayne remains a charming gauche as always. He mumbles the lines to his feet. When he tells Tina (Catherine Waterstone) that she has students like Salamander, you wonder when he managed to make eye contact long enough to notice. But the dirty glow of the New York background is being replaced in London and Paris, none of which is sufficiently defined to be a Manhattan character. And there are still beasts, of course, but they are a little too relieved relief time between all the pagan impulse enthusiastically wizards.
While the set up parts and effects are immersive and dizzying, the story is crazy and somehow uncompelling. And for all the nationalistic fanaticism of the nationalist magicians, Grindelwald (a dandy dipped in a talc) bursts out with an English accent of glass, the most severe harp in Potbers.