Dumbledore’s Secret, ‘JK Rowling’s Latest Message
Fantastic Beasts: The Secrets of Dumbledore follow in the footsteps of Fantastic Beasts: The Crimes of Grindelwald since its 2018 predecessor was almost crime-free, this third installment in Harry Potter The prequel franchise boasts no genuine secrets. Revealing that Dumbledore is gay is not a rumor (as it was explicitly implied in the final film, after years of JK Rowling’s own public statements) and the kind of eye-opening that Only the most demanding Potterphiles can do it. interested in — something that can also be said about effort in general. Functional yet never magical, this little bit of perfunctory IP exploit is a reminder that all good things come to an end, even if the powers continue to squeeze them for all that they have value.
Directed by David Yates, who is now leading the past seven series items and can use a new sandbox to play, Dumbledore’s Secrets does not include transverse characters or anti-transgender sentiment, which would prevent it from being central to creator and co-writer Rowling’s never-ending TERF battle. What it does have, thankfully, is a plot that’s considerably less complicated than Grindelwald’s Crimes, which messes up on its own with no appreciable outcome. Rowling and franchise doctor Steve Kloves rationalized their script as much as humanely possible, thus providing a gauge of momentum that wasn’t there in the previous launch. In terms of pacing, the film proves to be relatively quick, and if it still gets bogged down in a few unnecessary detours, it often stays the course throughout, culminating in a sweet and satisfying coda. satisfied.
Where to get it? Grindelwald’s Crimes left, Dumbledore’s Secrets finds Hogwarts professor Albus Dumbledore (Jude Law) enlisting beast whisperer Newt Scamander (Eddie Redmayne), his brother Theseus (Callum Turner), muggle baker Jacob Kowalski (Dan Fogler), and two other wizards — Lally Hicks (Jessica Williams) and Yusuf Kama (William Nadylam) —or on a mission to save the world: thwart the plans of Gellert Grindelwald (Mads Mikkelsen), who wants to wage war against humanity in order to strengthen secure the place of magical people at the top of the evolutionary food chain. Dumbledore can’t personally take down Grindelwald because when they were young lovers, they signed a magical pact that prevented them from engaging in direct combat — a convenient twist (moves to the final film) To complicate matters further, Grindelwald took and killed a mystical being that gave him the ability to see the future. To deal with that situation, Dumbledore devised a plan that none of his accomplices fully understood, thereby creating cryptic moves and motives that Grindelwald could not decipher.
There’s no mention of the fact that Grindelwald now looks more like Mikkelsen than Johnny Depp, and that’s not the only thing that unravels. Dumbledore’s Secrets; Katherine Waterston, the franchise’s co-original, is also conspicuous. Such clumsiness is felt elsewhere as well, possibly when Williams assumes Zoë Kravitz plays the role of the procedural (and apparently romantic Theseus) hero of color, Queenie (Alison Sudol) continues, making the decision to stick with Grindelwald despite wanting to be with her beloved Jacob, or helpfully discover that Grindelwald’s telepathic creature has a twin brother who is always in Newt’s care ( thus helping him to resist the power of the enemy). Like with her before Magical Creatures In the movie script, it feels like Rowling is creating new rules and patterns and then immediately coming up with appropriate ways to break them, which makes up the bulk of the film’s stock.
Grindelwald is an intolerant tyrant against us and Dumbledore’s Secrets his political advancement under clearly Nazi conditions, aided by the German Ministry of Magic conspiring to make him a candidate in the election for the leadership of the wizarding world . However, how Grindelwald was able to reconcile Hitler’s wishes with his homosexuality – nor the Jewish Jacob’s horrors of the turn of events this time – nor Dumbledore’s early kinship with Grindelwald (and his cause) is overlooked lest people pay too much attention. Its unbelievable. Yates distracts the audience from focusing on sci-fi and/or illogical elements with lots of dazzling CGI. Much of it is impressively mounted, albeit in a now-familiar manner; There are only so many times one can see men and women creating miracles through their wands before it all becomes old hats.
“Yates distracts the audience from focusing on sci-fi and/or illogical elements with lots of dazzling CGI. Much of it is impressively mounted, albeit in a now-familiar manner; There are only so many times one can see men and women creating miracles through their wands before it all becomes old hats.”
A fundamental omission of the whole Magical Creatures Franchising is that, unlike Harry Potter saga, Newt’s relationship to the larger battle against Grindelwald is tangential; instead of having a personal connection to the war (as Harry did with Voldemort), he’s simply a nice guy caught up in a larger socio-political storm. Redmayne continued to do his usual eccentric routine, but he felt less focused on the story than ever before, as Rowling made him and his blind teammate Dumbledore, who also didn’t have much of a presence. charismatic, this although Rowling gave him some extra baggage about family tragedy and Law presents him with the right blend of nobility, composure, and soul. Whatever the film’s title, though, Dumbledore is a likable puppet master who isn’t much of a mystery, even when it comes to his preference for men — a topic he discusses. Arguing with the normalcy of someone who doesn’t think he’s saying anything surprising.
Trading in Depp’s ornate hair and outfitting a simpler suit and tie, Mikkelsen is the best aspect of Dumbledore’s Secrets. However, he turned down an opportunity to really liven up this story, who enjoys wasting his time on Grindelwald’s henchmen — and Dumbledore’s supposed weapon of destruction — Credence Barebone (Ezra Miller), a narcissist who, like most people, comes across as a narrative device masquerading as a flesh-and-blood person.
The fact that one can understand what is going on from one moment to the next, is because Grindelwald’s Crimecomplications turned head, a small relief. And Yates’ management is still efficient, with full arrays of lucid imaginations that never completely overwhelm material emotions. Unfortunately, this tent’s watch controls are too memorized for the thrill of its great peril and the excitement of its victory. It merely resembles the spectacle Rowling has been peddling for decades, done with reasonable fanfare but creating a dwindling excitement.
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