This Is a Movie Review: Instant Family

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CREDIT Paramount Pictures

One of the great qualities of movies is their ability to open your eyes to possibilities in your own life that you had never considered or thought possible. I have always known that I want kids someday, and now that I am 30 years old, I am within my ideal age range for starting to raise a family, and I am often conscious of making sure I do not let that opportunity pass me by. Adoption and fostering potentially make that window open for longer than it would be otherwise. Those options have crossed my mind, but I’ve never really dug into them. But after watching Instant Family, I am now almost certain that I want to take that parenting avenue.

There is an early scene in which Rose Byrne and Mark Wahlberg browse the kids’ profiles on a fostering agency website, and they instantly fall in love with all of them, and I felt pretty much exactly the same. So much of this film is filled with moments like that. It has the look of a broad studio comedy that has loud, dangerous set pieces (director Sean Anders definitely has experience with that genre), but in moments when it could go over-the-top, it inevitably opts for the more grounded, and more rewarding, approach, dealing seriously with both the emotional and practical consequences of the situation. If you’re planning on becoming a foster parent, or think you might, or you just love supportive families, then you need to watch this movie.

I give Instant Family 4 Million Hugs out of 5 Million Heartaches.

SNL Review December 1, 2018: Claire Foy/Anderson .Paak

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CREDIT: Will Heath/NBC

This post was originally published on News Cult in December 2018.

Love It

The War in Words – Before Mikey Day joined the SNL cast, he was a part of the short-lived variety show Maya & Marty, and the best thing about that show was an earlier version of “The War in Words,” and it’s just as hilarious the second time around. The correspondence between Day’s World War I soldier and Claire Foy’s possibly unfaithful, definitely puzzling wife proves the viability of the letter-writing format in sketch comedy. Information is initially withheld, and then gloriously revealed, as the wacky world comes more and more into view with successive missive.

And in the sphere of Cut for Time sketches that I love, Beck and Kyle continue their satire of cheesy family sitcoms with “Cars.”

Keep It

Netflix – Jokes about Netflix having a bottomless amount of content and automatically throwing money at whatever is pitched to them are nothing new, but there is plenty of energy and unique style to this parody. Positioning “the Endless Scroll” as approaching the Singularity is certainly an apt way to put it. Plus, as “Officer Winslow” proves, it is always appreciated to see a dark take on Family Matters. While this doesn’t quite strike me as a classic immediately, it’s one of those bits that might gradually grow on me and reach that status eventually.

The Park Hyatt Argentina is certainly emblematic of the problems of Trump-era cold openings, but I do enjoy the silliness of the Giuliani and Putin impressions…Claire Foy’s Monologue is short and sweet enough to not make much on impact, positive or negative…Dad Christmas makes the scuzzy jokes you would expect about divorced kids getting shipped around for the holidays…Michael and Colin‘s highlights include the “very legal & very cool” Russian prostitutes Craigslist listing and the three cows in a trenchcoat (you can never go wrong with the “3 small things in a trenchcoat” joke)…Leslie Jones isn’t actually giving up sex, but she is making a joke about her chiropractor excusing her from twerking…As “economist” Jules, Beck Bennett might be the quote master of the season (“But if you have a roof over your heads, how are you going to see the stars?”)…The Holiday Message From the Women of SNL is most amusing when I mishear “Mueller” as “Mother” (and also, of course, when Leslie apparently mixes up Bigfoot and Santa Claus).

Leave It

Willy Wonka/Good Morning Goomah – Here are two sketches with promising germs of ideas, based on questions raised by classic movies, that are far from fully fleshed out. Specifically, those questions are: what’s the deal with all the grandparents in Willy Wonka sleeping in the same bed? And: what’s going on with the mistresses in Goodfellas and other gangster movies (and real-life mafioso society)? The answers we get are pretty much exactly what you would expect. The bed (and house) rocking in Willy Wonka is certainly explosive, but not particularly insightful. Meanwhile, Kate, Claire, and Aidy certainly sink their chops into ther goomah performances, but there are no surprises along the way.

Morning Joe is just a mess of an unfocused talk show sketch…HSN benefits from Cecily Strong’s committed breakdown, but ultimately it’s a whole bunch of shouting.

Claire Foy

On a scale of hosts that my mom is super excited about, I don’t think Claire Foy has convinced too many Crown obsessives to suddenly become SNL nerds. Although maybe she has enticed some SNL fans to check out The Crown, because if nothing else, this episode does show off her accent skills. Alas, it doesn’t show off much else of her talents.

Anderson .Paak

On a scale of artists I’ve heard plenty about but haven’t heard that much from, I think I’ve heard more of Anderson .Paak’s music than I’ve realized. I just don’t know what the names of those songs are! His two performances here are enjoyably energetic and righteously rhythmic, enough so to convince me to dive a little deeper into what I’ve been missing.

Letter Grades:

Park Hyatt Argentina – C+

Claire Foy’s Monologue – B-

Netflix – B

Morning Joe – C-

The War in Words (BEST OF THE NIGHT) – B+

Dad Christmas – B-

Anderson .Paak ft. Kendrick Lamar performs “Tints” – B+

Weekend Update
The Jokes – B
Leslie Jones – B-
Jules – B

Willy Wonka and the Chocolate Factory – C

HSN – C

Anderson .Paak performs “Who R U” – B

Good Morning Goomah – C

A Holiday Message From the Women of SNL – B-

This Is a Movie Review: ‘Anna and the Apocalypse’ Fulfills Our Society’s Need for a Decent Zombie Musical

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CREDIT: Gerardo Jaconelli/Orion Pictures

This review was originally posted on News Cult in November 2018.

Starring: Ella Hunt, Malcolm Cumming, Sarah Swire, Christopher Leveaux, Ben Wiggins, Marli Siu, Mark Benton, Paul Kaye

Director: John McPhail

Running Time: 92 Minutes

Rating: R for Typical Zombie Gore and a Disturbingly Sniveling Principal

Release Date: November 30, 2018 (Limited)

How has it taken us this long to have a major zombie movie musical? Some quick research proves that there actually are previous examples of this genre mashup, as the Disney Channel Original Zombies debuted earlier this year, and Z: A Zombie Musical, about three nuns attacked by a zombie dog, apparently also exists. But as far as I can tell, Anna and the Apocalypse is the first major theatrical release in which fending off the undead is interspersed with characters belting out original tunes. And in light of the genre’s popularity and how it has already allowed comedy and romance to seep through in the likes of Shaun of the Dead and Warm Bodies, that just seems fundamentally incorrect. But luckily for Anna and the Apocalypse, zombie ubiquity means that setting the living dead loose on a sleepy little song-happy British town around Christmas makes more or less perfect sense.

What Anna and the Apocalypse has most in its favor is a winning lead performance from Ella Hunt as Anna, who is trying to survive the holidays as she deals with the craziness at her high school, some boy troubles, and a falling out with her dad. What it lacks is the thematic heft that has uplifted so many zombie films above their slash-and-splatter foundations. There might be an attempt at that sort of message, perhaps regarding how the pain of how friendships and familial relationships evolve as you become a young adult are akin to the visceral nature of chopping up zombie brains. But it comes across as a clash of two different stories bumping against each other. They work well enough on their own, but they don’t really deepen each other, although nor do they undercut each other.

At least the songs are satisfactorily rousing, though they somewhat surprisingly tend more towards the “life is changing so fast” variety rather than the “world is going to hell” style. This particular musical agnostic found them decently toe-tapping and not too overwhelming. The champ of the soundtrack, for my money, is the saucy “Santa Baby”-esque talent show number that includes lyrics like “My chimney needs a good unblocking.” If you’re okay with someone getting holiday-based innuendo in your zombie movie, you should be pleased.

Anna and the Apocalypse is Recommended If You Like: Warm Bodies, High school talent shows with actual talent, A cozy British sensibility

Grade: 3 out of 5 EvacSelfies

This Is a Movie Review: ‘Spider-Man: Into the Spider-Verse’ Weaves 50-Plus Years of Superhero History Into One Neat Little Package

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CREDIT: Sony Pictures Entertainment

This review was originally published on News Cult in November 2018.

Starring: Shameik Moore, Jake Johnson, Hailee Steinfeld, Mahershala Ali, Liev Schreiber, Bryan Tyree Henry, Luna Lauren Velez, Lily Tomlin, Nicolas Cage, Kimiko Glenn, John Mulaney, Kathryn Hahn, Chris Pine, Zoë Kravitz

Directors: Bob Persichetti, Peter Ramsey, and Rodney Rothman

Running Time: 117 Minutes

Rating: PG for Superhero Bumps and Bruises and Dimension-Altering Explosions

Release Date: December 14, 2018

Even if you prefer Tom Holland or Andrew Garfield’s versions of Peter Parker, it is fundamentally outrageous that the cinematic Spider-Man has been rebooted multiple times so soon after the massively successful Tobey Maguire chapters. Spider-Man: Into the Spider-Verse avoids this pitfall by forgoing the same old Peter Parker origin story, or even the same old Peter Parker himself. Instead, the focus this time is on Miles Morales (Shameik Moore), a Puerto Rican and African-American teenager who inherits the Spider-Man mantle after he too is bitten by a radioactive arachnid. Additionally, while Miles is the primary protagonist, room is also made for just about every parallel universe version of Spider-Man that has ever existed in the comics (including noir, manga, and porcine iterations). I would love it if the live-action Marvel action movies were similarly diverse, but there is more space to be bold within animation (at least according to how the blockbuster industry currently operates).

A running gag throughout Spider-Verse is each version of Spider-Man giving us the rundown on his (or her) origin story. The film assumes that the audience is significantly familiar with the web-crawler’s mythos, and thus we get shout-outs to iconic moments from both the panel and the screen, like the murdered uncle and the upside-down kiss in the rain. These moments could play as cheap nostalgia, but instead they are far from it because there is so much visual information to digest. The effect is more one of self-awareness and reinterpretation.

Spider-Verse follows in a line of recent animated franchise films like The Lego Movie and Teen Titans Go! To the Movies that benefit from their deep wealth of knowledge about their own histories. They all comment on their own pasts, avoiding snark in the name of favoring celebration while also managing to craft new adventures that stand on their own. Spider-Verse takes its unique place as one of the most visually vibrant entries in the history of CG-animated cinema, with a cornucopia of expressive and energetic styles. Add to that a sterling voice cast, and this is one of the witties (vocally and visually), and just plain most satisfying, experiences you’ll have in all of 2018.

Spider-Man: Into the Spider-Verse is Recommended If You Like: Every Spider-Man Comic Ever, Teen Titans Go! To the Movies, The Lego Movie

Grade: 4 out of 5 Alternate Dimensions

 

SNL Thanksgiving Special, We Need to Talk

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CREDIT: NBC

Around every Thanksgiving and Christmas (and sometimes Halloween), NBC airs SNL compilation specials consisting of some of the most memorable holiday-themed sketches in the show’s history. With the Christmas editions, there is an overabundance of sketches to choose from. But the Thanksgiving specials usually contain a few “family meal” sketches that don’t actually take place on Turkey Day. That’s fine, though, as there aren’t as many Thanksgiving as there are Christmas bits. But it’s not entirely okay, because there are some actual Thanksgiving bits that don’t make the cut but that deserve to be revisited, like the Thanksgiving Song Auditions with Phil Hartman. Let’s take a deep dive into where rectification needs to be made.
The two main problems with the SNL Thanksgiving Special are recency bias and inexplicable sketch selection. The first is understandable, as the special gets refreshed every three years or so and thus tends to get reloaded with sketches that weren’t around to make the cut the last time. But at least room is still made for some sketches from previous decades, like Paul Simon dressed as a turkeyTonto, Tarzan, and Frankenstein singing; and the Nikey Turkey.
Let’s run through some quick points that SNL‘s compilation packagers simply must hear:
-The Bird Family is an acceptable inclusion, because when else are we going to see that classic?
-The Yelling Family Dinner is also acceptable, but please use the one with Sarah Michelle Gellar instead of Gwyneth Paltrow.
-The Loud Family, on the other hand, while funny, should not be included, as it is not sufficiently about food.
Right Side of the Bed is certainly about Thanksgiving, but it is not very good.
The one sketch where Vanessa Bayer plays a turkey dating Josh Hutcherson is one of the most bizarre sketches ever. I guess it’s an acceptable inclusion, but what is up with the animation at the end?
-Bring back Thanksgiving Song Auditions!

This Is a Movie Review: Ralph Breaks the Internet

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CREDIT: Disney

Ralph Breaks the Internet presents a remarkably satisfying and accurate (such as it is) cinematic version of the Internet (minus all the porn, of course). It’s filled to the brim with buzzy avatars representing pushy autofill, distracting suggested ads, and the like. There are also scores of little blue birds tweeting a bunch of nonsense (there should probably be even more of those). If the references look like they will be instantly dated, look again, and see that it is actually an ouroboros/phoenix of eternal present and unceasing nostalgia constantly eating itself and being reborn. The story zips along weightily with the technical dangers of a connected world grounded metaphorically in the emotional lives of Ralph and Vanellope. And the much-hyped inclusion of all the Disney Princesses is more significant than expected, with the ladies proving to be narratively essential as they also remain thematically true to themselves. All in all, as much as constant connectivity has transformed society (often for the worse), Ralph Breaks the Internet demonstrates that there is still room for friendship.

I give Ralph Breaks the Internet 23,000 Hearts out of 27272 Viruses.

This Is a Movie Review: Loopy Royal Period Piece ‘The Favourite’ is a Career Highlight for Its Three Lead Actresses

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CREDIT: Yorgos Lanthimos/Twentieth Century Fox

This review was originally published on News Cult in November 2018.

Starring: Olivia Colman, Emma Stone, Rachel Weisz, Nicholas Hoult, Joe Alwyn

Director: Yorgos Lanthimos

Running Time: 120 Minutes

Rating: R for A Very Sexual Royal England

Release Date: November 23, 2018

The hype for The Favourite indicates that it is not your typical period royal court drama, which is to be expected, given that it is directed by Yorgos Lanthimos, the Greek auteur behind such clinically chilling visions as The Lobster and The Killing of a Sacred Deer. And while The Favourite is certainly an oddity within the genre, that does not mean it is totally anachronistic. Lanthimos’ version is probably not an exact reflection of how the people within the orbit of the British Queen Anne spoke and behaved some 300+ years ago, but it does not seem impossible that they could have acted that way. People use certain four-letter words that are seldom heard from movie characters with the poofiest wigs and dresses, but these are words that have been around for centuries and surely some people were using them back then. Besides, The Favourite is not especially concerned with historical accuracy; the story behind it all is just inspiration for Lanthimos to craft his own devilishly compelling tale.

The most reasonable way to think of The Favourite is as a showcase for its three lead actresses (who get a little bit of help along the way from a few dudes), who have rarely, if ever, been better. Olivia Colman is Anne, hobbled by gout and occasional indecisiveness, perhaps more than a little manipulative in how she courts favor, but breathtakingly formidable once she has made up her mind. Rachel Weisz is Sarah, Duchess of Marlborough, close advisor (and much more) to the queen. She prides herself on being ten strategic steps ahead of everyone else, which is her greatest strength, even when it appears to be her downfall. Her wits allow her to get out of any sticky situation, up to and including kidnapping by a brothel. And Emma Stone is Abigail, Rachel’s cousin and new arrival to the court. She initially appears to be so unfailingly kind that it makes her a little stupid, but ultimately it is clear that she is a full-fledged ingratiator. Stone has never before immersed herself in such a dark persona. If Lanthimos has done his job right, and I think he has, your loyalties will constantly switch along with the characters to the point that you just want to applaud everyone.

The Favourite is Recommended If You Like: Amadeus, All About Eve, Persona

Grade: 4 out of 5 Powdered Wigs

 

This Is a Movie Review: ‘Creed II’ Draws From the ‘Rocky’ Franchise’s Past With Both Predictable and Resonant Results

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CREDIT: Barry Wetcher/Metro Goldwyn Mayer Pictures/Warner Bros. Pictures

This review was originally posted on News Cult in November 2018.

Starring: Michael B. Jordan, Sylvester Stallone, Tessa Thompson, Phylicia Rashad, Dolph Lundgren, Florian Munteanu, Wood Harris, Russell Hornsby

Director: Steven Caple, Jr.

Running Time: 129 Minutes

Rating: PG-13 for Swollen Shut Bruised Eyes and Other Boxing Injuries

Release Date: November 21, 2018

The first Creed was just about as crowd-pleasing a blast of a fighter and young man coming into his own as the original Rocky was. And now with Creed II … Adonis Creed’s story continues. If you agree that Michael B. Jordan delivered some much-needed energy as the new lead character in this franchise, you may very well be invested in seeing where it goes from here. But it is hard not to prevent it from all being episodic in a way that sequels like these can so easily be. And naturally enough, just as Rocky II featured Rocky and Adrian marrying and having a son, Creed II features Adonis and Bianca (Tessa Thompson) marrying and having a daughter. If you have a heart and any appreciation for family whatsoever, it’s certainly affecting, but also strikingly predictable.

But ultimately Creed II is more of a direct follow-up to Rocky IV, as Adonis squares off against Viktor Drago (Florian Munteanu), son of Ivan (Dolph Lundgren), who beat Adonis’ dad Apollo in the ring so badly that he died from the fight. Rocky’s bout against Ivan was a symbolic Cold War-era standoff, and an American-Russian rivalry is the most culturally relevant it has been since the dissolution of the Soviet Union. While that subtext can easily be found if you want to examine it, the more prominent theme is the difference in coaching styles. The family and friends in Adonis’ corner offer him no-strings love and support, whereas Ivan constantly reminds his son that he will be a disappointment to his whole country if he does not win. By the end, there is a pivot that demonstrates that the Dragos have a more loving relationship than we are initially privy to, and I would have loved to have seen more of that. We get plenty of scenes with the Munteanu and Lundgren, but if they had been even more the mirror image of what Jordan and Sylvester Stallone do together, Creed II could have been a whole lot more magical.

Creed II is Recommended If You Like: Rocky completism

Grade: 3.5 out of 5 Title Belts

SNL Review November 17, 2018: Steve Carell/Ella Mai

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CREDIT: Will Heath/NBC

This post was originally published on News Cult in November 2018.

Love It

Space Thanksgiving – This sketch is more of an Almost Love It than a full-on Love It, as it starts out with some wonderfully surreal 10-to-1-style wackiness, but then it kind of just ends. It checks off much of the ingredients in the formula for brilliant comedic stupidity. Space setting? Check. Minor but significant pronunciation differences? Check. Hacky special effects? Check. It’s a recipe for me getting invested in discovering whether or not the Earth astronauts will attempt to save the cornels from the kern, and whether or not they really should. But then … they just keep on eating them and Space Thanksgiving continues forward like nothing happened. The weirdness will stick with me, but the lack of follow-through is disappointing.

Keep It

Friendsgiving – Let’s take a moment to acknowledge how this episode has a striking surplus of “sequel in spirit, if not quite in fact” sketches. Here we have the first of the two Thanksgiving dinner bits, along with the aforementioned Space Thanksgiving, which was also the second outer space sketch. And then there are the two notably similar sketches with Steve Carell as a struggling, clueless dad visiting his kids in the middle of the night (we’ll get to them). Anyway, Friendsgiving is of a piece with previous attempts in the history of comedy to compose an honest-to-God Thanksgiving song. It has flashes of excellence as everyone joins in on singing a tune that appears to be made up on the spot. It’s not quite layered or committed enough to reach classic status, but it’s fun while it lasts.

This is overall an underwhelming episode, but it’s mostly filled with “Keep It” sketches that are just amusing enough to keep me paying attention. That quality is perfectly represented by The Ingraham Angle cold opening, which does not have a particularly sharp or consistent point of view, but it does have a few funny lines thrown in (like how Judge Jeanine Pirro is “Pulitzer Prize-eligible”)…Steve Carell’s old Office-mates badger him throughout his Monologue, but it’s the actual audience member (or likely rather a writer playing a real audience member) who makes the biggest impression…Dad Steve Carell tells his kids they’re Going to Disney World, but his capacity for missing all the betrayal happening right under his nose is impressive…The Message from Jeff Bezos gets a decent-sized laugh out of me when it notes that The Art of the Deal is the “only book with four Chapter 11’s”…The RBG Rap isn’t offering a particularly fresh message from SNL or comedy in general, but it’s a message we’re always happy to have around…The NASA Television sketch is ostensibly about disturbingly frozen animals, but I appreciate it more for the dad jokes (“I Apollo-gize”) and a girl called Halley saying that her name is like both the comet and Eminem’s daughter…Michael and Colin have a decent night as usual, but the moment I most remember from this Update is that delayed camera switch at the top…Kenan’s LaVar Ball has certainly given me a memorable image by mentioning a grandma filling a shoe up with spit…The Grease-style ’50s Sleepover kind of feels like a direct sequel to the Going to Disney World sketch, and I kind of wish that Steve Carell and Aidy Bryant were in fact playing the same father-daughter pair as before. As it stands, I enjoy that the joke is more about Dad Steve spending a bizarre amount of time singing to a high school dropout than it is about anything creepy…GP Yass understands drag queen terminology, but it isn’t quite fully imbued with the spirit of drag.

Leave It

Denver Riggleman – So, apparently a Congressman-elect is into Bigfoot erotica  – good for him! But Mikey Day doing an impression of said Bigfoot enthusiast that merely consists of him reading a book  – I’m going to need a little bit more than that. Look, I appreciate the commitment, and the the illustrations are spot-on appropriate (are they the actual pics from Riggleman’s books?). But there’s not much of a comedic hook here besides “just goofing off.”

RV Life is too terrifying to be funny. But Heidi Gardner saying “Did you know that a dog can punch you?” is definitely worth a laugh.

Steve Carell

On a scale of hosts I’m surprised haven’t hosted more often than they have, I still feel that way about Steve Carell, but this episode doesn’t convince me that he needs to come back as soon as possible. He shows up and is perfectly reliable, like the professional comedian that he is, but he doesn’t notch any legendary performances to add to his career highlights. He plays several middle-aged dads, which makes sense for a number of reasons, and he also plays a few spacemen, which is kind of weird.

Ella Mai

On a scale of up-and-comers breaking big on the SNL stage, Ella Mai is somewhere in the middle. She certainly looks poised and has a look down, but her whole live performance isn’t quite blow-you-away level. That’s a high standard, so let me be clear that what I know of her so far is great, I would grade this appearance above-average, and I will happily be following the rest of her career. If her SNL performances haven’t won you over completely, watch the “Boo’d Up” music video and then keep listening to it over and over again. It’s one of the best songs of the year.

Letter Grades:

The Ingraham Angle – B-

Steve Carell’s Monologue – B

Going to Disney World – B-

A Message From Jeff Bezos – B-

Friendsgiving – B

RBG Rap – B-

Ella Mai performs “Boo’d Up” – B

Weekend Update
The Jokes – B-
Denver Riggleman – C
LaVar Ball – B-

’50s Sleepover – B

Ella Mai performs “Trip” – B

RV Life – C

Space Thanksgiving (BEST OF THE NIGHT) – B(+)

GP Yass – B-

This Is a Movie Review: ‘Fantastic Beasts: The Crimes of Grindelwald’ Knows What It Wants to Say, But It’s Still a Messy Slog

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CREDIT: Warner Bros.

This review was originally posted on News Cult in November 2018.

Starring: Eddie Redmayne, Katherine Waterston, Dan Fogler, Alison Sudol, Johnny Depp, Ezra Miller, Zoë Kravitz, Callum Turner, Claudia Kim, Jude Law

Director: David Yates

Running Time: 134 Minutes

Rating: PG-13 for Fiery and Occasionally Hate-Filled Magic

Release Date: November 16, 2018

Gellert Grindelwald (Johnny Depp) is the wizarding world’s worst nightmare, at least for those witches and warlocks who care more about morality than power. His evil is more complicated and confounding than that of Lord Voldemort, as he has a knack for convincing people to act against their best interests. Fantastic Beasts: The Crimes of Grindelwald knows what devastating points it wants to make with Grindelwald, but they are stuck within a bunch of dithering around. The film climaxes with the dark wizard holding a rally, bringing to mind charismatic politicians who have sowed hatred throughout history. Even though Grindelwald has made it clear that he wants pure-blooded wizards to rule over all magical and non-magical folks, he uses suspect but alluring promises to convince some people who very much do not agree with his agenda to join him. This is irrational, but it’s a type of irrational behavior that has caused real devastation. However, instead of coming of as a frightening warning, these unreasonable decisions all just feel nonsensical.

Take for example Queenie Goldstein (Alison Sudol), who is in love with non-magical Jacob Kowalski (Dan Fogler) but lives in a society in which their marriage would be illegal. There is no way she could reasonably be seduced by Grindelwald, who would not support their union except for how it might offer him a chance for manipulation. There could be a powerfully relevant story about Queenie being swayed to the dark side, but instead her shift is too sudden and too jarring, and thus ineffective. Her subplot is a microcosm of The Crimes of Grindelwald‘s problems.

Elsewhere, there is plenty of other business going on. Newt Scamander (Eddie Redmayne) is in Paris looking for some sort of MacGuffin or another. Credence Barebone (Ezra Miller) is becoming ever more dangerous for whatever reason. There are farcical misunderstandings about who is engaged to whom. Various magical creatures act in ways that are kind of cute and/or frightening, but not particularly memorable. In conclusion, Jude Law is a fine young Dumbledore (and perhaps a fine young everything), and any future Fantastic Beasts installments should not be afraid to use him more often.

Fantastic Beasts: The Crimes of Grindelwald is Recommended If You Like: Every nook and cranny of The Wizarding World of Harry Potter but without getting too worked up about the details, The Young Pope

Grade: 2.5 out of 5 Salamander Eyes

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