Crimes Of Grindelwald [extra Quality] -

The Crimes of Grindelwald is a film of moments rather than a cohesive whole. It sets the stage for an epic conflict, expanding the scale of the Wizarding World significantly. However, it forgets the heart that made the original Harry Potter series so beloved. It is a beautiful mess—one that entertains visually but frustrates narratively.

The Crimes of Grindelwald serves as the ambitious second chapter in the Fantastic Beasts prequel series, expanding the Wizarding World beyond the familiar halls of Hogwarts. Directed by David Yates and written by J.K. Rowling, the film shifts the focus from a whimsical hunt for magical creatures to a dark, political thriller centered on the rise of the most dangerous dark wizard of the early 20th century. crimes of grindelwald

The film’s cliffhanger—Grindelwald claiming Credence is actually Aurelius Dumbledore —remains one of the most debated "retcons" in the franchise. Artistry vs. Storytelling The Crimes of Grindelwald is a film of

Would you like a separate post focused only on the canonical contradictions or the character analysis of Grindelwald himself? It is a beautiful mess—one that entertains visually

Meanwhile, a young Albus Dumbledore (Jude Law) at Hogwarts asks his former student, Newt Scamander (Eddie Redmayne), to track down Credence Barebone (Ezra Miller) — an obscurial whose power Grindelwald seeks to weaponize. The trail leads from London to Paris, where a climactic rally at Père Lachaise Cemetery reveals Grindelwald’s charismatic evil and sets the stage for the series’ central conflict.

The film’s biggest crime is its script. J.K. Rowling attempts to weave together five different subplots: Credence’s identity, Newt’s relationship drama, Queenie’s turn, Leta Lestrange’s backstory, and Grindelwald’s rise. The result is a fragmented story that jumps around frantically. Characters like Nagini and Tina Goldstein feel wasted, serving as little more than set dressing for long stretches of the runtime.

Visually, the movie is a masterpiece of production design. The action moves from a rainy New York City to a beautifully realized 1920s Paris. The French Ministry of Magic, hidden beneath an Art Nouveau fountain, offers a stunning contrast to the British and American versions seen previously. From the terrifying escape of Grindelwald in a flying carriage to the ethereal blue flames of the climactic rally in the Lestrange Mausoleum, the cinematography pushes the boundaries of magical realism.