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Movie Review

The magic in The Secrets of Dumbledore fails to conjure anything fantastic

Alex Bentley
Apr 13, 2022 | 1:16 pm
The magic in The Secrets of Dumbledore fails to conjure anything fantastic
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It has been a bumpy start for the Fantastic Beasts series, a Harry Potter spinoff that centers on Newt Scamander (Eddie Redmayne), who has an affinity for all sorts of creatures with strange abilities. Neither of the first two films managed to capture the allure that the eight Potter films did, with a focus on complex storytelling instead of the basics that made the original series so appealing.

I’m sad to report that the third film, The Secrets of Dumbledore, continues that unfortunate trend, even with Steve Kloves — who wrote all but one of the Harry Potter movies — taking over for J.K. Rowling as screenwriter. The film starts off promising enough, with an intriguing and unusually direct conversation between Albus Dumbledore (Jude Law) and series villain Gellert Grindlewald (Mads Mikkelsen, taking over for the disgraced Johnny Depp). That’s followed by an exciting scene in which Newt tries to rescue a newborn Qilin, a deer-like creature whose powers are sought by the power hungry.

From there, however, the film devolves into the series’ usual convoluted storytelling. Newt’s romantic interest, Tina Goldstein (Katherine Waterston), is all-but-missing from the film, but he’s joined by an odd group that includes his friend Jacob (Dan Fogler), brother Theseus (Callum Turner), and a newcomer, American auror Eulalie Hicks (Jessica Williams). They, along with Dumbledore, are enlisted to … well, it’s never quite clear, but it has something to do with keeping Grindlewald away from power. The series’ big bad villain has apparently given up on truly evil deeds and resorted to … (checks notes) … election fraud?

That’s just one of many things that Kloves (who based his screenplay upon an earlier version from Rowling) and director David Yates can never adequately explain. Even worse is that, for a movie called The Secrets of Dumbledore, those secrets aren’t given nearly the import you’d expect. Aside from an enchanted vial that connects Dumbledore with Grindlewald and the fact that he’s gay, neither of which he bothers hiding from other characters, it’s difficult to say what “secrets” the film is supposed to be about.

The filmmakers take the plot down seemingly random detours that don’t always pay off. Characters intersect or reconnect at odd junctures, and subplots have a strange way of stopping and starting in ways that make no sense for the film as a whole. The thinking seems to be that more information is better, but they obviously don’t have the ability to organize everything in a coherent manner.

Since the film isn’t based on any previously published story, they could literally do anything to entertain fans. While there are some fun moments, like a scene where Newt must imitate crabs in order to facilitate an escape, they are few and far between. The film continues the series’ overall dark tone, and even though there is plenty of magic to be found, it never feels magical.

Redmayne, though technically still the lead of the series, takes somewhat of a backseat this time around, which keeps his quirky style of acting from being too annoying. Law is as charismatic as ever, even if his story arc is confusing. Mikkelsen makes for a great replacement of Depp, although the evilness of his character never quite connects. And Williams affects a haughty accent that almost equals Redmayne’s irritating nature.

At this point in the Fantastic Beasts series, you either love or hate the direction the filmmakers have taken the story. As much as I try to give them the benefit of the doubt, I am continuously confounded by their inability to make even a halfway entertaining film.

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Fantastic Beasts: The Secrets of Dumbledore opens in theaters on April 15.

Mads Mikkelsen in Fantastic Beasts: The Secrets of Dumbledore.

Mads Mikkelsen in Fantastic Beasts: The Secrets of Dumbledore
Photo courtesy of Warner Bros. Pictures
Mads Mikkelsen in Fantastic Beasts: The Secrets of Dumbledore.
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Movie Review

Andrew Garfield leads peasant rebellion in medieval film The Uprising

Alex Bentley
Sep 10, 2026 | 12:15 pm
Andrew Garfield in The Uprising
Photo by Betina La Plante/Focus Features
Andrew Garfield in The Uprising.

Writer/director Paul Greengrass made his name with a cinéma vérité style of filmmaking that brought immediacy and depth to three Jason Bourne films, United 93, Captain Phillips, and more. In The Uprising, he uses those skills to tell the story of the so-called Peasants’ Revolt in 14th century England.

Greengrass wastes no time starting the main plot as Ploughman (Andrew Garfield) and his fellow villagers object to onerous taxes put on them by the country’s nobility, led by the young King Richard II (Woody Norman), to fund an ongoing war. Ploughman initiates a violent response over the tone-deaf — and unseemly — way the king’s guard go about their business, and the rebellion soon starts to spread across the countryside, with the citizens looking for a degree of autonomy.

The ever-expanding group makes their way toward London to try to make their case to the king himself. Meanwhile, the king’s top advisors, including Archbishop Sudbury (Stephen Dillane) and Treasurer Hales (Tom Hollander), try to usurp power from the inexperienced monarch even as the king’s mother (Katherine Waterston) tries to get him to be more assertive.

The history of the English monarchy is long and lurid, as Shakespeare detailed in multiple plays, including Richard II. Though the events in the film took place almost 650 years ago, it’s easy to see parallels between what the peasants were fighting for and modern-day politics. Greengrass’ storytelling intent is solid, and the righteous anger the citizens feel is initially relatable and palpable.

But the populism theme of the story soon gets bogged down in drudgery and minutiae that is difficult to understand, especially when the details are lost in the thick regional English accents. The leaders of the rebels — including John Ball (Jamie Bell), Wat Tyler (Cosmo Jarvis), and Alyce (Thomasin McKenzie) — are shown doing a lot of planning, but the strong feelings they have about their quest don’t come across well, leaving the audience as passive observers.

When there is action, Greengrass and his team employ a frenetic style that is not great for comprehension. While the gist of what is happening and what side is winning is legible, individual moments go by so quickly so as to be nearly meaningless. Save for Ploughman, any connection that has been made with various characters proves futile, as Greengrass doesn’t seem to have any time for emotion. Scenes that should feel thrilling or heartbreaking instead come off as empty.

Garfield is a two-time Oscar nominee who has done great work across multiple genres. He’s fine in this role, but whether it’s the story, the filmmaking, or something else, he’s not as captivating as usual. The same goes for other strong actors like Bell, McKenzie, Dillane, Hollander, and Waterston, who each seem to be giving their all to their performances but are somehow muted in the process.

Done right, The Uprising could have been a rip-roaring account of people standing up against their oppressors. What Greengrass has made, though, is a film that can’t translate its medieval story for a modern audience and concentrates too much on unexciting elements and too little on thrilling ones.

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The Uprising is now playing in theaters.

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