Children's miracle of J.K. The Rowling series is hard to replicate when adults are protagonists and are used to a magical world.
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Each year between 1998 and 2011, with the exception of 2006 and 2008, was a new entry into Harry Potter series, whether on the page or on the screens. Each new entry meant a return to Potter the world hidden, but self-contained (to its climax) in the real world, and every return means everything: the chance to escape from the real world, the chance to visit Hogwarts, and the next set of "storytelling, the opportunity to spend more time with characters we know and expand on how the narrative tells and, at least temporarily, to be young again.
At your best Harry Potter stories work both as a timeline and as a portal to a dimension that is not our own, but we are well-known as frequent visitors. If the books required access to passports, the staggering number of the Earth's population would have pages full of hints for trips to Hogwarts and back. Once, J.K. Rowling did more than write a story and make a plot. She plotted the entire ecosystem for the reader to get lost and see each other.
It is fair to expect Fantastic animals and where to find them, the first film in Potter prequel spin-off series, and its tracking, Fantastic game: The crimes of Grindelwald, freshly released in theaters this weekend to meet with audiences with the same spirit. But not. Frankly, they can not. These films are fundamentally divorced from this spirit; they are Potter adult movies, ignore it Potter, even in childhood, was for adults nearly as well as for children. You will be kidding to gain equivalence between these demographics. Rowling wrote books with a children's audience. But she wrote them in terms that spoke to us regardless of our position in the age spectrum. Rowling created the universe and she blessed the universal language.
2016 Fantastic animals and where to find them he was quite familiar with this language, a surprising but permissible offense because of his novelty and a five-year divide separated from the original story of Rowling. Perhaps his clumsiness – his righteous approach to character, his clumsy blend of intertextual (the title comes from a book learned at the Hogwarts School of Witchcraft and Witchcraft) with a drawing – points to rust rather than rubbish. Loss of habit has a way of transferring the craft. But in Fantastic game: The crimes of Grindelwald, craft is included in franchise maintenance sanding, which sacrifices coherence and quality on the altar of ambition. This is a movie with great designs for Potter world, but it is annoying to see them.
It's such generosity as these two films deserve. IN Potter series, imagination is an atmosphere. Magic, as a narrative story and aid, feeds imagination, but the truth, but Rowling pictured her heroine as soon as she forgets the magical existence, she hurriedly directs itself to spaces where magic is simply the everyday reality of life. Acclimatization to a culture where washing dishes themselves are as ubiquitous as intelligent telephones and are incredibly useful and the company's favorite modes of transport include broom itself. She filtered through the eyes of a child, a wonder that is so real Harry PotterIdentity is immediately gaining stunning creative oomph. You experience and discover the endless and flexible power of magic with the same respect as Harry.
Amazing does not appear The crimes of Grindelwald. It replaces the "aw" that the nasal expression of disappointment happens when expectations are suppressed by the harsh whims of franchising in cash. Miracles because they do not even start. Adults, v Potter the world, doing matte heroes; their perspectives are informed daily. First Fantastic game film, at least incorporates a degree of nematic nature, and this view fills the film with astonishment that spreads around its edges. Here is just another person who will calm down to the miracles of witchcraft. Adults are better suited as guides and mentors, making it easier for Rowling children to advent. Sense is given in Harry Potter when he left his childhood, the adult plateau. They stop growing.
It's not like they can not change or surprise us. Even Severus Snape (Alan Rickman), at his heel The Prince of Two Blood, appears to be heroic. But Snape's bravery is not actually a development. It's the key to who Yippee, before the collapsing events of Rowling's novels. Adults in Harry Potter they tend to be what they are. They are impossible. Fantastic game: The crimes of Grindelwald argues that it is impossible. His characters are inert. As a result, the conspiracy becomes inert.
You can beat movie crimes committed in The crimes of Grindelwald. However, the greatest disability is abandoning everything that creates youthful energy Harry Potter Start investing time.