“Mary Poppins Returns” full film review

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A spoonful of nostalgia isn’t enough to make the narrative go down. The highly anticipated Mary Poppins Returns hits theatres this week. Unfortunately, this film gets lost in nostalgia, neglecting the need to tell a new story. Instead, we get more than half a movie full of frivolity that lacks any coherent meaning or substance that is more concerned with hitting the same plot beats with similar songs at the same moments in this version as it was with the original. Visually, the movie is flawless and the animation sequences were a welcomed visit from the past. Reminded me of, if the animation from Bedknobs and Broomsticks and Mary Poppins got together, this is what you’d get. When creating a sequel that doubles as a remake, connections to the original are important but should not be at the diegetic forefront. Mary Poppins Returns exists in a gray area that is neither a sequel nor a remake. Had Mary Poppins Returns been a full-on sequel or remake, then perhaps the narrative would have faired better. As it stands, it sits uncomfortably in the middle and suffers from a bit of an identity crisis. Perhaps this version is lacking in critical value and complex characters, but it ranks highly in entertainment value. There isn’t anything particularly memorable about it except for the special appearances by Dick Van Dyke and Angela Lansbury, but the movie offers a couple hours of whimsical fun.

In depression-era London, the Banks family faces one of the greatest hardships a family can face–losing their home. Compounding the present state of affairs, the family is also coping with the recent loss of Michael Banks’ wife and mother of their three children. With help from the family’s longtime maid/cook Ellen and Michael’s sister Jane, the family hopes for the best while planning for the worst. With only five days until the house is repossessed, Michael remembers that his father left him shares of that infamous bank from his childhood; but when certificates of shares in the Fidelity Fiduciary Bank turn out to be missing, all hope seems lost until Michael, his children, and Jane get the surprise of a lifetime. Mary Poppins returns! Michael and Jane’s beloved nanny from their childhood returns to look after the family during this crisis. In true Mary Poppins fashion and accompanied by the lamplighter Jack, she whisks Michael’s children into a fun-filled adventure through the streets of London and into a world of imagination.

At the bedrock of the original are these lessons that must be learned. In many ways, Mary Poppins was a teacher to both Jane, Michael, and George. Although the lessons varied by character, they had one common denominator: life’s priorities. And there were no true villains–that is–evil or villainous out of malcontent or cruelty. And the songs had strong meaning, not just fun, creative lyrics to a show-stopping accompaniment. Furthermore, there was strong character development in the central characters. The character arcs of George and the kids were measurable. Even Mr. Dawes Sr. demonstrated measurable change. There are the elements of substance that make the original a timeless classic that transcends the decades and generations to remain a beloved film. Mary Poppins Returns fails to deliver any of these elements to the audience. Instead, chooses to get lost in the nostalgia of the original. Relying on the abstract of nostalgia to carry this remake-sequel.

While Michael’s lesson is clearly to learn to be a child again, his children learn the lesson to be quasi adults by teaching their father and working to solve the family’s financial crisis. Those two idea are in direct contradiction. Mary Poppins is no longer acting like a teacher but she seems more concerned with being an actual nanny moreso than the governess that was the original. If the lesson to be learned was to have the imagination or hope of a child, then that should have been taught, not two different lessons in direct contrast. George Banks may have been had his priorities in the wrong place, but he was not evil, nor was Mr. Dawes Sr. evil–he too had his priorities all askew. In Mary Poppins Returns, Colin Firth’s Mr. Wilkins is downright cruel for no reason other than simplistic greed. Simple motivators are a good place to start but should be developed to be more complex to add to the conflict. Firth’s character is completely uninteresting.

Talk about memorable songs in the original; I imagine you can recite most lyrics by memory, unlike this version with lyrics so convoluted and complex that they are largely forgettable. At the time of listening, the lyrics are poignant and work at the given emotional or plot beat, but then they are mostly forgotten. The songs in this one seem to exist only for the amusement of the audience. And the vaudeville number. Let’s talk about that for a moment. For starters, I love Mary’s wig that she borrowed from Catherine Zeta Jone’s Chicago costume. The music and lyrics in that number were incredibly entertaining–but–these same lyrics are quite risque in places. I was shocked that they were in a movie aimed at kids (despite the PG rating). And comparing the songs from the original to the ones in this version, each and every song in Mary Poppins Returns sounds similar AND comes at precisely the same beat as they did in the original. Each and every song in this one is an answer to the counterpart in the original. With one conspicuous exception, there is no equivalent for the Sister Suffragette. With Jane’s heavy involvement in workers’ rights (much like her mother’s women’s rights), it seems odd that she was not given a song since were were giving everyone else songs equivalent to the original. Yes, I am aware that Sister Suffragette is not in the Broadway musical, but it should have had a place in Mary Poppins Returns.

Structurally, the first two acts are all over the place. Fortunately, the film finishes with a strong third act. Everything seems so forced, rushed. Pacing matched the original. It’s as if the emotional beats and plot points from the original were mapped out and a “new” story was conformed to fit the old diegesis. There are even moments that can be completely removed from the story and not effect the outcome. For example, the entire Meryl Street scene has no impact on the realization of the narrative. Screenwriting 101 teaches us that each and every scene should point the audience toward the end–each scene should culminate in something important. Think of each scene as a paragraph in a larger story and each line of dialogue as a sentence in a larger paragraph. Each paragraph has a beginning, middle, and end; just like a story has a beginning, middle, and end. If a scene does not advance the plot, then it should be reworked or removed. We never revisit the cracked pot or truly embrace the idea of giving oneself a new perspective from which to view life. The song is fun, but that is all I can say about that scene. And there are other scenes in the movie that do little to advance the plot, but this is the most obvious one.

The movie is not without its entertainment value. If you are looking to escape reality for a couple of hours, then you are in the right place. You will be delighted with the whimsy and magic of this story. Perhaps the screenplay is poorly conceived, but everything else (from a technical perspective and performance perspective) works very well. If you enter the film with a heavy heart or some degree of sadness, the movie will help you forget your troubles for a moment and put a smile on your face and maybe even a tear or two in your eyes. Emily Blunt may not be a perfect Mary Poppins but she is practically perfect as the beloved nanny.

Ryan is a screenwriting professor at the University of Tampa. If you like this article, check out the others and FOLLOW this blog!

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“Instant Family” brief movie review

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Surprisingly good! You’ll want to adopt this movie into your heart. Have you ever seen a trailer for a new theatrical release and just assumed it was another generic Hallmark or Lifetime movie making its debut on the big screen? That is precisely what I thought of Mark Wahlberg’s Instant Family. In fact, the only reason I watched it last night was because there wasn’t anything else (and I didn’t want to see the neutered Deadpool cash grab). But, I am glad that I decided to watch it! Not for reasons that it’s a “great film,” but because it was a heartwarming, inspirational story told effectively! There is a refreshing unapologetic approach to familial conflict that holds nothing back. It’s a no-holds-barred dramedy that addresses the mountains and valleys of fostering/adoption, specifically sibling fostering/adoption. If I was to liken this movie to one that we are largely familiar with, I would compare it to Parenthood, but one that is for the 21st century and concerns itself with the foster system. The movie, through the trailers, sets itself up to be an over-the-top comedy, but it was far from being a farce or slapstick comedy. When Instant Family comes from the same director of Daddy’s Home and Daddy’s Home 2, you already have preconceived notions of what the experience of this movie is going to be. Fortunately for audiences, this movie is far from the former two. And why is that? The short answer is that there is a sort of flawed humanity underscoring everything. No pretense about any of the characters. If you’re looking for authenticity, a realness about true-to-life characters, situations, and conflict, then you will definitely want to catch Instant Family.

When Pete and Ellie decide to start a family, they stumble into the world of foster care adoption. They hope to take in one small child, but when they meet three siblings, including a rebellious 15-year-old girl, they find themselves speeding from zero to three kids overnight. Now, Pete and Ellie must try to learn the ropes of instant parenthood in the hope of becoming a family. (IMDb)

While there is a lot of satire in the movie, there is never a moment that you lose your empathy for Pete and Ellie. They come from families that could very well be your own, with all the jabs, competition, and patronization that comes along with them. Even the adoption center and fair scenes, there are elements of the conversations and experiences that may be exaggerated for comedic purposes, but they are all still very much grounded in reality. Pete and Ellie are extremely eager to do a good job, and even employ some of the same approaches they use for flipping houses, but in stead use them to flip people. Some of the irreverent jokes are hilarious! There is one about rebranding foster children as rescue children like the pound for animals was rebranded rescue. The movie also takes audiences behind the faces at the adoption center to reveal the tragic, hard lives that the children and teens come from. Truly highlights the importance of looking at becoming a foster or adoptive family in order to give a child a nice home. Beyond the social commentary on the adoption and foster system, there is also a lesson to be learned that can apply to any number of areas of our lives. Such as knowing precisely why you want to do something, not just the fact you feel it’s what is supposed to be done. The movie will hit you with thought-provoking moments that will force you to face what you think of foster kids and the foster system. I also appreciate the movie for depicting difference kinds of parents–quite the modern bunch! So much diversity is represented, and each prospective parent(s) is inspired by ones encountered by the writer-director Sean Anders’ own journey as he and his wife adopted three siblings.

This is a shorter review because I am getting busy with the end of the semester, but I wanted to provide some brief thoughts on it anyhow. After this week, I’ll be back to my regular article entries.

Ryan is a screenwriting professor at the University of Tampa. If you like this article, check out the others and FOLLOW this blog!

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“Green Book” full film review

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A timely thought-provoking dramedy in the style of “Driving Miss Daisy” with a charming lead cast that provides a platform to analyze racism, class, and other prejudicial issues set in the Jim Crow era South. Based on the true story, writer-director Peter Farrelly uses a buddy road trip comedy approach to tell an important, hard-hitting story that is just as relevant today as it was during the Jim Crow days of the deep south. More than relevance though, it’s an important film that can potentially start conversations about racism, classism, and many other isms or social phobias we face today. Socioeconomic and racial bigotry still exists. Perhaps those issues aren’t as formal as the Jim Crow days, but these are issues that are still alive today and need to be addressed. Film is a powerful medium for challenging the status quo or starting conversations about topics that are otherwise hard to discuss. Sometimes, a film plays it safe while dealing with tough topics such as racism. Hidden Figures and The Help come to mind. The topic is definitely at the crux of the plot, but it doesn’t go right for the jugular of the offending party. However, the screenplay written by Farrelly, Nick Vallelonga (son of Tony, the central character), and Brian Currie is an unapologetic exploration of the realities of where parts of the country were and to some degree still are. The film’s heavier moments are counterbalanced by the comedic banter between Dr. Shirley (Mahershala Ali) and Tony (Vigo Mortensen), and it is infectious! You may read that this film’s plot is predictable in many ways, and that is not untrue. However, the power of this movie is not in the mechanics of the plot, but its topical power and character dynamics and conversation between the characters that gives the film the award-winning quality it has.

Based on a true story, Dr. Don Shirley (Ali) is a world-class African-American pianist who’s about to embark on a concert tour in the Deep South in 1962. In need of a driver and protection, Shirley recruits Tony Lip (Mortensen), a tough-talking bouncer from an Italian-American neighborhood in the Bronx. Despite their differences, the two men soon develop an unexpected bond while confronting racism and danger in an era of segregation.

Being from the deep south originally, there are many elements and encounters in this film that I have witnessed. Not that racism is limited to the deep south, as we can see evidence of it all over the country, but the racism depicted in the movie still exists, to this day, in the south. Perhaps it’s not as formal or widely accepted as it once was, but remnants of the Jim Crow days can still be found in the smaller towns. However, this film is about more than racism during the Jim Crow days, it’s also tackling classism between the highly educated, wealthy white collar professional and the streetly educated, lower middle class blue collar professional. Furthermore, the film also takes a moment to highlight the degree to which gay males were criminalized in the south. Corrupt law enforcement is not new to film or media, but this film makes it a point to not depict all white law enforcement officers the same. While many of the law enforcement officers are shown as unethical, Green Book includes a friendly, concerned officer who helps Tony and Dr. Shirley on their return trip home.

I love the visually-driven stark contrast between Dr. Shirley and Tony that is supported by strong dialogue and subtext. Within a short amount of time, we learn precisely what makes each of our leading characters tick and just how different they are. Shirley is a high-class, highly educated, white robe and gold jewelry wearing Jamaican-American concert pianist who lives above Carnegie Hall and Tony is a working-class Italian-American, Bronx-dwelling, bouncer at the famed Copacabana night club. They couldn’t be from two more different worlds. Yet, Shirley sees precisely what he needs in Tony as a valet/chauffeur as he makes his way through the bigoted south. Both actors deliver exemplary performances, packed with quite the savage zingers and sarcasm. Mortensen literally packed on the extra pounds that you saw in the movie, much in the same way we witnessed Charlize Theron put on the weight for her brilliant performance in Tully. Both actors are playing characters completely opposite of their typical ones. In his first role since Moonlight, Ali couldn’t be any further from his drug-dealing character in that movie. And we seldom get to see Mortensen in comedic roles, but his facial expressions and infectious energy are well-suited to his role in Green Book.

One of the most powerful takeaways from this film is not the fact the American south was (and still is to a lesser extent) a hotbed of bigotry and inequality that was direct, it’s the indirect racism that that hid behind smiles and “legacy” laws and still hides behind tradition today. In several scenes, the reasons for Shirley’s treatment was because of long-standing rules or laws that just are the way they are. Those in power do not question whether a rule is fair because that’s the way it’s always been. And I think that form of racism is even more dangerous than the more violent kind because it’s far more prevalent even today. The film also deals with classism because Shirley looks down upon Tony even before the road trip begins. From the moment that Shirley and Tony meet, Shirley looks down upon Tony and is consistently spouting savage comments. Whereas one’s level of education or job does not determine the level of class one displays in real life, I appreciate this trope in Green Book because it helps to paint the socioeconomic contrast that pairs nicely with the racial contrast in order to setup conflict along the road trip. Whereas racism may not be something you’ve directly experienced, there is a strong possibility that you may have encountered or experienced economic or educational prejudice. Although the “caught in the act” scene between Shirley and the other male guest at the YMCA was a little “on the nose,” because it happened at a YMCA, this scene provides an opportunity to show that homophobia was (and still is, to an extent) very real in the deep south. It was even criminalized, as evident by the law enforcement detaining the men in the movie. So, if you’ve never experienced racism or classism, maybe this is something you’ve experienced in a more modern context. These areas are so very important because they allow so many people in the audience to identify with one or more areas of prejudice.

The screenplay for Green Book is so incredibly well-written! But the movie magic that allows the film to be as impactful as it is, is due to the on screen chemistry between Mortensen and Ali. However, back to the screenplay. It was brought to my attention that last year’s Phantom Thread is similar in pacing to Green Book, and that is in part due to the “slow moving” plot. But here is why I did NOT like Phantom but love Green Book: every moment in Green Book is important and full of meaning. There is not one wasted moment in the plot. Each line of dialogue was carefully constructed to drive the character development and plot forward. There is a beautiful authenticity to every moment of this film. Sometimes that authenticity is offensive (the language and attitudes of many of the southerners) and other times it is refreshingly candid. I was completely sold on Ali’s and Mortensen’s respective characters in every movement and every speech. I believe each and every character to be true to life, full of dimension and depth. Perhaps that depth is scary but other times it is heartwarming. Excellent banter is difficult to write, but the screenwriters demonstrate an uncanny ability to take a scene and make it both funny and dramatic all at the same time.

I am not sure where this this film falls in my ranking of picks for the year, but I can honestly say that it is one of my favorites. My two favorite parts of this film are the performances and screenwriting. It’s a timeless story, based ON a true story, that is a narrative that we need today as we seem to face increased prejudice between various groups of people. Is Green Book going to cure the problem with racism and classism on display in the United States? No. But this film does show that by spending time with other people from different backgrounds or cultures, we can combat these actions by learning to love and accept those who are different from ourselves.

Ryan is a screenwriting professor at the University of Tampa. If you like this article, check out the others and FOLLOW this blog!

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SeaWorld Christmas Celebration 2018 Review

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I’ve said it before, and I will say it again, no theme park does Christmas better than SeaWorld! From the food to shows to lights, SeaWorld Christmas is a spectacular event. With so much to see and do, you’ll want to experience it multiple nights in order to make sure you create memories that will last for a lifetime. Although I’ve attended Christmas Celebration in the past, it is so magical that I just love experiencing it again and again. Perhaps you are like me in that you attend as many theme park and resort events at possible at Christmas, but if you can only select one for you and your friends/family, then I highly suggest SeaWorld Christmas Celebration!

Before we get into the shows (which are largely unchanged from previous years), I want to talk about the food. Oh, and speaking of food, you’ll want to treat yourself to the sampler lanyard (5 or 10 items) for all the delectable food and drink cabins. My invitation to the media event came with the 5 item sampler, but I can see the advantages of the 10 item option if you plan to attend multiple nights or are there with another person or group. As far as the 5-item lanyard, my friend Dani and I were able to share it and had plenty to eat and drink. Prior to setting out into the park, the SWO public relations team provided many food and drink items for us during the media mixer. My favorite is the s’mores waffle cone! Absolutely delicious. We also had the Christmas dinner and candied popcorn. Out in the park, we had the donut pulled pork sandwich (not included in the sampler), brisket macaroni and cheese, and chicken and waffles! Yes! Chicken and waffles, you heard me. For drinks, we had the Jingle Juice. All the speciality beverages I saw were hot (just FYI). For a cold beverage, there are options but they are not the specialty drinks.

We attended Clyde and Seamore’s Countdown to Christmas, Winter Wonderland on Ice, and Shamu’s Christmas Miracle. Unfortunately, we did not attend O Wondrous Night because of scheduling conflicts. Of course, we also enjoyed the Sea of Trees show on the lagoon that runs throughout the evening. Clyde and Seamore’s show is always hilarious!! You are in for a laugh for sure. Since we were attending during the same showtime as O Wondrous Night, it wasn’t terribly packed but was nicely filled. Largely unchanged, this show is pretty much the same as it was last year, but it is still such a fun show and will have you laughing the whole time. One of my favorite parts of the show is actually the pre-show when the audience all joins together to sing familiar Christmas songs and carols. Although it is a show geared towards the younger members of the audience, there are jokes and references for us adults to chuckle as well. At one point, one of the trainers forgot his line, and there was a comedically self-aware moment. And the Frozen jokes were great. New for this year were some meta jokes about the stores in the mall. So incredibly funny! Poor Blockbuster haha. Do yourself a favor and sit down for a heaping helping of laughter and merriment as Clyde and Seamore Countdown to Christmas!

Winter Wonderland on Ice returns this year! Arrive early for the preshow! Enjoy the beauty of the violin as a fantastically talented violinist plays Christmas music as you wait for the show to begin. Much like the Christmas on Ice show at Busch Gardens, this show features many talented figure skaters in beautifully choreographed skating numbers to your favorite Christmas songs. To be honest, I still prefer the Busch Gardens show, but those skaters are at the park year-round so they can put more time into the show design. That being said, with SeaWorld placing the show on the water’s edge, the exquisite Sea of Trees can be seen behind the ice stage. Since the show is outdoors, SeaWorld is able to integrate some lite pyrotechnics in the show! As a figure skating hobbiest, I have a high degree of appreciation for these shows. I love watching the movements and picking out the ones that I am able to do! Note: I still have a long way to go haha. Bayside Stadium is packed for this show, so make sure to arrive early.

The Christmas Village at Port of Entry is always a treat! With special a’cappella groups, the Christmas village train set, and of course, you can meet Rudolph and Friends! This is the area where you can also enjoy hot chocolate, eggnog, craft beer, and cookies! Located near the Christmas Village is Santa’s Base Camp where you can meet the big man himself. With many places to sit down and relax, this is a great place to slow down and take in the smells and songs that make this “the most wonderful time of the year.” I came across the most adorable plushies, once of which is a promotional item! I saw a Shamu with a Santa hat and a Santa Sloth!! There is also a hedgehog and other cuddly plushy animals that will be hard to resist.

Merry Christmas!

Ryan is a screenwriting professor at the University of Tampa and works in creative services in live themed entertainment. He’s also published prolifically on theme parks and produced a peer-reviewed study. If you like this article, check out the others and FOLLOW him!

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“Fantastic Beasts: the Crimes of Grindelwald” review

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Fantastic Beasts: the crimes of screenwriting. I am still not entirely sure what I watched last night. J.K. Rowling’s plot for the second film in the Fantastic Beasts is all over the place, goes in every direction except intentionally forward. When the Harry Potter spinoff franchise needed an Empire Strikes Back, it gets an Attack of the Clones. Referencing a hyperbolic statement from J.K. that made its way around Twitter, I am totally in belief that she did, in fact, write the screenplay in 25mins. From pacing issues to odd tonal shifts and a lack of focus, the screenplay suffers from a case of sequelitis. The Crimes of Grindelwald appears to rely on technical marvel and spectacle more so than a compelling narrative. The movie is full of new and familiar characters (plus some Harry Potter cameos), fantastical beasts, and explosive sequences of events, but ultimately loses air ad runs flat. Much in the same way that the first movie felt like the preface to a book, this one feels that it too has the goal to simply setup the next chapter. Moreover, the movie feels like too little plot stretched over too much runtime. Which is a shame, because there is clearly an attempt to provide an escapist allegory for primarily racism and, to a lesser extent, sexuality. Subtext of heavy psycho-social and moralistic themes is nothing new to the Rowling-verse, but Grindelwald simply gets lost on its journey to deliver a powerful thought-provoking story paired with high-flying adventure. This sequel is certainly darker than its predecessor, but fails to provide a well-developed plot that will drive the remaining films forward.

In an effort to thwart Grindelwald’s plans of raising pure-blood wizards to rule over all non-magical beings, Albus Dumbledore enlists his former student Newt Scamander, who agrees to help, unaware of the dangers that lie ahead. Lines are drawn as love and loyalty are tested, even among the truest friends and family, in an increasingly divided wizarding world (IMDb).

Many movies have A, B, and C stories. The A story is the central plot that focusses on the central and opposition character’s external goal; and the B and C stories are typically the subplots that focus on character development, internal needs, and/or supporting character stories. The problem with this movie is that it randomly switches focus, tone, and direction arbitrarily without any rhyme or reason. Each of the A, B, C, D….in short, there are too many stories (plots) in this movie…plots–individually–are interesting. And stacked in an effective manner, could provide quite a bit of meat in this sandwich. Unfortunately, the focus of the layers and ingredients is on the arrangement or presentation of the sandwich more so than allowing the famished to sink their teeth into the otherwise delicious sandwich. Or think of it as the shifting staircases in Hogwarts; you could ascend and descend the staircases for hours and still not make any real progress toward your destination. Structurally, the movie suffers from a shifty foundation. So convoluted is the plot, that it continually introduces new information and elements just for surprise, shock, or brief entertainment value rather than setting up the story in the first act, throwing the characters into crisis mode in the second act, then providing solid resolution or realization in the third. It’s like one really long first act and a rushed second and third acts. As I warn my screenwriting students about science-fiction or fantasy writing, often times, these screenwriters are so wrapped up in world-building that the plot and characters suffer. Perhaps the characters in Grindelwald are complex enough (but truly debatable) but the plot is far from simple. After two movies, it appears that J.K.’s talent for writing novels is not as evident in screenwriting. Hence why many parts of this movie feel better suited to a novel than movie.

I could go on and on about the plot holes and pacing problems, but I feel I’ve made my evaluation sufficiently enough. So, now I want to switch gears to discussing what IS interesting about the movie. There are elements and attempts at themes (and subtext) that almost worked. Had more attention been paid to the logistics of screenwriting, then these would have been thought-provoking or at least meaningful. Upon my initial watch (and full disclosure, I plan to watch it again b/c I’ve heard it’s better on the second screening), the themes of racism, ethics, and sexuality are clearly present. Instead of a classic approach that features two differing ethnic races, the two races are the magical and no-mag (or muggles), skin color or country of origin do not factor into the equation. Grindelwald seeks to elevate the magical above the no-mag because he feels that the magical race is superior to the no-mag and can prevent the world from plunging into war. Ironically, his views insight mass violence and death. Furthermore, he wants the no-mag to serve the magical because the no-mag are disposable. Clearly, there are parallels between the American Civil War and Wold War II. Moreover, Grindelwald’s determined for the magical to stop hiding from the rest of the world and should come out to show the regular humans that they are the superior race–the super race, if you will.

Speaking of “not hiding,” the film also touches on sexuality in the wizarding world. For the first time, a character’s sexuality is pivotal to the plot and thus affords J.K. and WarnerMedia to comment on that in the story. Not a spoiler since J.K. stated it in a tweet, Dumbledore was in a romantic relationship with Grindelwald when they were much younger. It was always rumored that Dumbledore was gay, but this film puts those rumors to rest by addressing his past. Unlike a film that would simply add this character trait to the plot for the sake of inclusivity, Grindelwald allows for this to be an important part to the plot because Dumbledore and Grindelwald made a pact when they were in love never to fight each other directly. This theme of being free to love whom you will is also witnessed in the relationship between Jacob and Queenie. According to the present laws, Jacob and Queenie are not permitted to marry because a magical individual cannot engage in a romantic relationship with a non-mag. Queenie could wind up in the Ministry of Magic’s prison. In the end, Queenie couldn’t live with the divide between her and Jacob that the Ministry created, so she chooses a new future for herself. Although only directly touched on in one scene, there is also some commentary on ethics. At one point, Dumbledore tells Scamander that he appreciates that Scamander always does what is right, not what will best suit him or support a particular side of a conflict. He is concerned with only engaging in decisions that are ethically sound regardless of the personal benefit.

Even more than its predecessor, Fantastic Beasts: the Crimes of Grindelwald works diligently to convince you that these movies belong in the same universe as the original Harry Potter movies. The return to Hogwarts and a few familiar character appearances work to connect this film to the rest of the Wizarding World, but at times feel incredibly forced. You will also learn more about Dumbledore’s long lost, secret brother, the origin of Voldemort’s pet snake, and the lineage of Bellatrix Lestrange. With three more movies to go, there is still time to turn this franchise around for the better, but that will largely hinge on the next movie.

Ryan is a screenwriting professor at the University of Tampa. If you like this article, check out the others and FOLLOW this blog!

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