Professor Albus Dumbledore learns that the powerful dark wizard Gellert Green-de-Wald plans to take over the world. Realizing that he cannot stop him alone, Dumbledore asks magozoologist Newt Salamander to lead a team of outstanding wizards and one brave Muggle baker. They will have incredibly dangerous adventures, meet old and tame new magical creatures, and fight against the supporters of Grindelwald, who are growing in number.

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It’s worth saying right away, dismissing all fears, that the third iteration of Fantastic Creatures holds up. At the level of the failed second part. The film, whose raison d’etre is completely inexplicable, barely barely reaches the record low bar dropped by its predecessor. “The Mysteries of Dumbledore” is a slap in the face to common sense, a vaudeville of bad taste and a pathetic attempt by a decent cast to give at least some filmic dignity to the proceedings. Assembled out of manure and sticks, the film has no clear idea, most of the scenes are completely random, it resembles a bad fanfic that miraculously got financing. The film lasts two and a half hours, during which nothing really happens; at the end you arrive at the same crooked-skewed status quo you were greeted with in the beginning. The dialogue is laughable, the suspense is absent, the attempts at humor are rudimentary (what are we talking about if the main gag is an excruciatingly drawn-out scene in an underground prison where Eddie Redmayne and Callum Turner deliberately wiggle their hips in front of crab-like critters). It’s such an incoherent and incoherent movie that it’s impossible to believe that one of its co-writers is a professional writer, a woman who makes her living telling coherent, fascinating stories. Both sequels to Fantastic Creatures show how Rowling wants to flaunt her ability to play not only in the field of adult novels but also in real political territory, but she manages inequality, war and chauvinism through the eyes of teenagers far better than the same problems through the eyes of adults. So far she has only managed to give away a direct reference to the Second World War in the previous part (in case the viewer is stupid enough not to catch the obvious allusions) and the most ridiculous story about elections in the magical community, where it is not even the wizards themselves but a wonderful deer that decide, in this one (here it is a mess, because all that matters is the fact of their presence in the story, for everyone to get shocked by a very “smart” parallel to elections in undemocratic countries). This is the level of direct-to-video films that are not worth the rental time. Some of the performers in the frame are pathetic to watch (Ezra Miller suffers most, with literally two or three solid scenes for the entire running time, and those are just grimaces, grimaces and frowns), and the (completely unnecessary) scene in Hogwarts, poorly drawn with, of course, the recognizable melody in the background, is like a mockery of the memory of the times when David Yates and Co. were at least pretending to try.

The Dumbledore Mysteries themselves, like The Crimes of Green DeWald, do not deserve a separate talk about themselves, so secondary, but they are quite revealing in the context of the entire Wizarding World media franchise – they demonstrate quite clearly the surprisingly chicken blindness of both the producers and Rowling herself as to why Harry Potter and everything associated with it is so popular. They apparently believe that the secret to success and long-lasting good fan memory is magic itself, the presence of wizards and bright flashes from wands. All that goodness is in abundance in “Fantastic Creatures,” but it’s not enough. Go to Pinterest, look up any Harry Potter mudboard, and you’ll realize that since the release of the second installment of ‘Deathly Hallows’ and the virtual end of the boy-who-survived-hegemony over the minds of an entire generation of children who have grown up, the main fuel for the enduring interest in this universe has been primarily the aesthetic of the story: castles, gloomy forests, parchment, ink, books, a certain dress code, star maps, unusual writing, hidden locations, and, most importantly, Britain in all its artistic manifestations. The Internet has given fans an incredible number of visualization tools, allowing you to literally transfer a magical story from the pages of the books in real life without looking like a cosplaying favorite heroes geek in a gown and striped scarves. The success of the first Fantastic Creatures was largely due to that very aesthetic side of things: familiar elements transferred to new artistic ground, but retaining the same atmosphere. Fans would have forgiven the sequel for any (albeit reasonably) silly script if it had obeyed any established rules of the game. Parts two and three are simply ugly, garish, tasteless, and lacking in any truly appealing shots. Having deprived the story of the advantage of a British location, the producers began jumping around haphazardly in locations, as if the names “Paris”, “Berlin”, “Bhutan” (!!!) alone were enough to make the viewer think of a whole magical world where there isn’t one. From the mysterious spells in pseudo-language only the fireworks of their magic wands remained, the parallel existence of two universes, Muggle and magical, attractive by the very idea that behind every wall of the city can hide its slanted Lane, dissolved in the diffusion of real locations and invisible, and the actress, playing Minerva McGonagall (yes, yes, the same gimmick with the character participating in the events before her birth), with an important look tells at the premiere how she practiced repeating the position of her hands when Maggie Smith held her wand in the frame, while herself appears only in one scene and her whole role is to stand for a few seconds in a doorway. “The Dumbledore Mysteries” is a triumph of parasitizing an entire subculture with its own characteristics that the creators don’t care about. So don’t spit in the well from which you draw your money – you might not make it to part four.

Info Blu-ray
Video
Codec: HEVC / H.265 (56.5 Mb/s)
Resolution: Native 4K (2160p)
HDR: Dolby Vision, HDR10
Original aspect ratio: 2.39:1

Audio
English: Dolby TrueHD with Dolby Atmos 7.1 (48kHz, 24-bit)
English: DTS-HD Master Audio 7.1 (48kHz, 24-bit)
English: Dolby Digital 5.1
French: Dolby Digital 5.1
German: Dolby TrueHD with Dolby Atmos 7.1 (48kHz, 24-bit)
German: Dolby Digital 5.1
German: Dolby Digital 2.0
Italian: Dolby TrueHD with Dolby Atmos 7.1 (48kHz, 24-bit)
Italian: Dolby Digital 5.1
Spanish: Dolby Digital 5.1

Subtitles
English SDH, French, German, Italian, Spanish, Cantonese, Danish, Finnish, Korean, Mandarin (Simplified), Mandarin (Traditional), Norwegian, Swedish.