THere were three main components that contributed to the success of the first of these Potter spin-off series. The show of Eddie Redmayne, destroyed and suppressed as Newt Scamander; New York's vision of 1920 was viewed with magic tinted glass, which could be immediately discovered and not spectacularly anticipated. And, of course, the animals were. One of the main problems is cluttered Grindelwald crimes is that two of the three have been downgraded to support roles.
Redmayne remains as adorably gauche as ever. He rummages his lines on his feet. When he tells Tina (Katherine Waterston) that she has pupils like a salamander, you wonder when he managed to pay attention so long as he noticed. But New York's dirty charm is being replaced by London and Paris, and none of them is strictly defined to be registered as a Manhattan character. And, of course, there are still beasts, but they are just a bit more than a dazzling light relief between the ridiculous fractures of all the charming communities.
Although the action that determines the cuts and effects is abruptly immersed, the narrative is anxious and somewhat non-compulsive. Grindelwald (Johnny Depp, immersed in talks) scans his line of English accent, the most talented villain in Potterwright, for all his creeping magic-nationalist instincts.