Originally Posted by
IrishDevil
I walked out FB having enjoyed it (and will see the rest of them, who am I kidding?), but the more I thought about it, the less I liked it. And I had a long drive home, so I thought about it a lot.
I think Jason, unsurprisingly, nailed it on the head. This struck me as a movie written by a someone unused to writing logical conflict and likeable characters without the aid of internal monologue and third person description - a novelist in the screenwriter's chair, out of her comfort zone.
I suppose Newt is meant to be awkward but charming, but whether due to writing or performance, I never got much charm from him. It also doesn't help his likeability any that Newt's customs evasion and negligence with his belongings, two of the first things we see him do, account for much of the trouble in the first two thirds of the movie.
We root for some heroes, though, not because they are likeable, because their antagonist is so evil that we want what the hero wants. The struggle between them draws us in. This, unfortunately, also presents a problem for FB, because Newt and his antagonist don't really interact much, which lowers the stakes of Newt's struggle and makes it less compelling. Despite the reveal of Grindelwald at the end, Newt's antagonist is MCUSA, the American magical government, and specifically their anti-magical beast policies, to which Graves/Grindelwald is never specifically linked. MCUSA opposes his goal of magical beast conservation and education, yet we only see this opposition occasionally throughout the movie, which makes our hero's overall goal feel like a background story, as much of the action is driven by Newt's recovery of his animals and the Graves-Obscureal storyline. And while Graves/Grindelwald and Newt come into conflict as they both attempt to reach Credence at the climax, they both want him to survive, and thus arguably want the same thing, though motivated by different, somewhat muddy purposes. Unclear conflict = unclear rooting interest, so another strike against Newt.
Some heroes, even if unlikable initially, we root for because we like how they change throughout the movie. As nearly as I could tell, Newt's great change in the movie was from "awkward and unable to maintain eye contact with humans" to "awkward, but able to verbally commit to visiting a girl he likes in a year while maintaining marginally more eye contact." Maybe this is what FB was hoping for, as Newt says straight out that people don't like him and he is interested in how likeable Jacob is, but the change is so small, it hardly seems worth it.
Tina fares no better - flat, mopey to start with, and largely uninteresting. She is made out to be such a blunderer in her work in the beginning that when we learn about the arguably heroic act that put her in this position - standing up for a victim of physical abuse and attacking the abuser - it seems to belong to different character. That stronger character emerges some in the final third of the movie as she duels Graves/Grindelwald and attempts to save Credence, but then the movie undercuts Tina at the end by attributing her victory - winning her job back as an auror - to Newt putting a good word in.
Queenie and Jacob give me some hope, though - not only because they were relatable and easily the most enjoyable story in the movie for me, but because the ambiguity in the ending provides options. I know Grindelwald will have to be dealt with, but I wonder whether the FB series would be better served in the next movie by focusing on Newt, who I suspect is a complex character in Rowling's mind and notes, but failed to make the jump to the screen intact.
I will also be curious to see how they pull off the Grindelwald story. Rowling has linked his campaign to WWII in a number of ways, including place, time, and ideology. This overlap of major wars in both the wizarding and non-wizarding worlds was reinforced in FB when Newt shares with Jacob that he, too, fought in WWI, in a dragon battalion (so sad - what an opportunity for an intro to Newt that would have been!). I will be interested to see how they weave Grindelwald into the second quarter of the 20th century to let us see how magical events moved beneath the surface of such a well-documented period.
Whatever they do going forward, I hope they learn from this one, because it was not pretty in a number of respects. But, like I said at the beginning, I will probably see whatever they make anyway, so perhaps they also don't care to change? I am sincerely hoping, davekay, that the he George Lucas/Ep I-III analogy is not as apt in a few years as it looks right now.