The setting this time is 1926 New York, brought lavishly to life with the skill and production design integral to this particular cinematic world (the sheer craft is quite incredible). Within ten minutes, I found myself settled back, looking forward to properly meeting a new bunch of magical characters. In amongst the occasional reference to Hogwarts and its future inhabitants, Fantastic Beast’s world-building soaks you up so quickly, that – even though the faces on the screen are different – there’s a sense of old friends at work.
Much, thus, rests on Redmayne’s shoulders. His Newt’s a genial, nervous, itchy guide, an introverted and slightly unusual hero for the centre of such a sizeable story. Rowling’s screenplay gives us enough to make him instantly interesting, if not too much to leave us feeling like we’ve got to know a great deal about him by the end of the film. He does feel a little more a tour guide at times, though, than the catalyst for a story.
With the introduction of Newt also comes a few crucial details. His mysterious suitcase – with a special Muggles setting – keeps clicking open and shut, and we learn, as the promos have told us, that it’s in here he keeps just some of the imaginative, assorted beasts of the film’s title. For Scamander is in America to track down and protect such beasts, an ahead-of-his-time conservationist with a penchant for whipping out his magic wand when required. He’s supposed to be quietly going about his work, but that's not easy when there’s always something threatening to burst out of his battered case, and in turn put him on the wrong side of Colin Farrell’s oddly flat director of magical security, Percival Graves.
What is surprising is that this time, she doesn’t really offer up much of a compelling narrative.
Instead, what we get is more of a variety show than a story, with lots of Post-It notes full of good ideas, but only a weak marker pen that's running out of ink to pull them close together. The bare bones of the film are inevitably some way off the richness of the Potter films, but even if you treat this as standalone, what you get is a lot of characters building up to a CG-dominated third act. With some delicious-looking pastries to divert you.
It's as it heads towards its finale that the film makes the same kind of spectacle mistakes that any number of blockbusters have struggled with in recent times. At a point we should be rooting for characters, and the stakes should be at their highest, the (hugely impressive) special effects pretty much barge everyone out of the way. The film suffers heavily for it: bland wasn’t a word I expected to write in this review, but for one key stretch in the movie, it’s hard to describe Fantastic Beasts as anything else.
Some do fare better than others. The standouts? Dan Fogler’s Jacob Kowalski is very good value, and Alison Sudol’s exceptional Queenie Goldstein is a real treat. The scenes the pair share both evoke the 20s setting of the movie, and the playful spirit of Rowling’s writing. They're a lot of fun apart, an absolute joy when together. Credit too to the always-wonderful Samantha Morton, as Mary Lou, who brings a quiet, unsettling menace to her role. I’m keen too to see more time for Katherine Waterston’s Porpentia Goldstein in future films.
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Source: http://www.denofgeek.com/uk/movies/fantastic-beasts-and-where-to-find-them/45267/fantastic-beasts-and-where-to-find-them-review
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