Fantastic Beasts: The Crimes of Grindelwald – Film Review

At the start of The Crimes of Grindewald, everything is buggered. Newt Scamander (Eddie Redmayne)and his friends are scattered across the globe. The Wizarding World is deeply divided and preparing for war. And the dark lord Grindelwald is on the loose and waging a campaign to turn his fellow wizards against their non-magical cousins. It’s a serious departure from the larking about with mooncrows and erumpents of its predecessor. But while Fantastic Beasts and Where to Find Them was far from faultless, it’s childish sense of wonder made it an irresistible rush to watch. This grown-up sequel doubles down on the low-stakes, diffuse plotting, and loses the dazzling novelty that made the first film such a frothy delight.

One year on from his violent assault on New York City, Grindewald (Johnny Depp) mounts a spectacular escape from a flying stagecoach while on route to stand trial in Europe. Unable to move against his former lover, Dumbledore (Jude Law) sends his favourite former pupil, Newt – now a mildly famous author – to Paris to hunt him down. It’s a lean, enticing set-up, but rarely is there much tension or a sense of urgency to the adventure, as J.K. Rowling and director David Yates get bogged down in unengaging subplots and unnecessary backstories. Newt spends more time pining for love interest Tina (Katherine Waterston, again given very little to work with) than thwarting Grindelwald’s plot. A complicated history between the Magizoologist, his brother Theseus (Callum Turner) and his fiancé Leta (Zoë Kravitz) is hinted at without being fully resolved. Meanwhile, Grindelwald is seemingly content to sit back and wait for the pieces of his scheme to fall into place. These distractions result in Credence’s (Ezra Miller) search for belonging – the fulcrum around which the entire series pivots – being crowded out and feeling not as vital as it should.

Yet there’s still plenty of magic to be found. From Newt’s basement menagerie to the ornately detailed realisation of 1920s Paris, the mastery of craft and attention to detail in the production values is mightily impressive. It provides the perfect platform from which Yates launches a series of breathtaking set-pieces, including a thrilling raid on the French Ministry of Magic.

Redmayne ably anchors the action this time around, giving the big-hearted Newt more confidence and assurance as he throws himself into harms way for the greater good. While many are justifiably frustrated by the coy allusions to Dumbledore’s sexuality, there’s no denying Law perfectly captures the twinkling charm of a more youthful, mischievous professor. Depp is also perfect (if controversial) casting as Grindelwald, whose bleached blonde hair, wounded eye and zeal for rhetoric normalising horrific attitudes towards muggles makes for a chillingly pernicious presence on screen.

Watching a ridiculous-haired demagogue with a knack for manipulating vulnerable witches and wizards to his cause is too close to reality not be terrifying, culminating in a highly charged political rally and an emotional gut-punch of an ending that leaves everyone questioning their loyalties. It’s proof that there’s a powerful story to be told… if only Rowling and Yates could get on with telling it.

Runtime: 134 mins (approx.)
Director: David Yates
Screenwriter: J. K. Rowling
Stars: Eddie Redmayne, Jude Law, Johnny Depp, Ezra Miller

Widows – Film Review

“No one thinks we have the balls to pull this off,” Viola Davis’ mourning thief spits at one point in this ferocious crime thriller. She could quite easily be referring to the faintly incredulous reaction to the news that arthouse powerhouse Steve McQueen would be directing Widows. While a remake of an 80s ITV series, itself based on Lynda La Plante’s novel, might seem an unusual choice to follow the Oscar-winning 12 Years a Slave, in McQueen’s confident hands it becomes a powerfully proactive political thriller. One wrapped in plenty of explosive popcorn cinema.

A brutally immersive opening immediately proves McQueen can do high-stakes spectacle. Launching straight into the heist-gone-wrong action, we’re strapped into the interior of a getaway van as Liam Neeson’s career criminal and his macho crew are blown away in a hail of bullets and screeching tires. With the men gone, their widows are forced to embark on a job of their own to pay off their husband’s debts.

That basic set-up is the jumping off point for a sprawling examination of poverty, corruption and racism in America today. Rundown housing projects exist a stone’s throw from gentrified mansions; a lucrative local election is fought between two corrupt men who will do anything to hold power; a midway gut-punch evokes echoes of the Black Lives Matter movement. Clearly, McQueen has a lot to get off his chest and Widows is unflinching in its depiction of the challenges minorities face.

McQueen is careful not to let the politics overshadow the action, though. Instead he weaves his talking points between blistering set-pieces and staggeringly arresting visuals. One captivating scene takes place solely from the bonnet of a limo as it races past crumbling apartment blocks and into a leafy, gated community. And when it comes to pulling off the heist, McQueen delivers a taut, shockingly immediate display of kinetic car chases, tightly wound home invasions and captivating twists.

Such rich material makes effective use of Widow’s brilliant ensemble cast. Davis’ is undoubtedly the standout with an intensely emotive performance, rallying her hastily assembled crew and showing dogged determination to survive through her grief. Yet all four stars excel and surprise in their own way. Michelle Rodriguez imbues struggling mum Linda with grit and tenderness. Elizabeth Debicki draws unexpected courage and resilience from the abused Alice. And late arrival Cynthia Erivo exhibits quiet toughness as getaway driver Belle. Meanwhile, Daniel Kaluuya is also worthy of praise, offering an imposing threat as the swaggeringly terrifying Jatemme.

Some may say the film loses sight its deeper meanings as it scorches towards its brutal climax or that the genre’s tropes are not entirely supplanted (one twist in particular will challenge viewers’ credulity). Regardless, McQueen has crafted an emotionally intelligent thriller that evocatively explores grief, power and unimaginable pain with the same assurance as it delivers high octane thrills. Who says blockbusters are dumbing down?

Runtime: 129 mins (approx.)
Director: Steve McQueen
Screenwriters: Steve McQueen, Gillian Flynn
Stars: Viola Davis, Michelle Rodriguez, Elizabeth Debicki, Colin Farrell