Congress has cut federal funding for public media — a $3.4 million loss for LAist. We count on readers like you to protect our nonprofit newsroom. Become a monthly member and sustain local journalism.
This archival content was written, edited, and published prior to LAist's acquisition by its current owner, Southern California Public Radio ("SCPR"). Content, such as language choice and subject matter, in archival articles therefore may not align with SCPR's current editorial standards. To learn more about those standards and why we make this distinction, please click here.
'Fantastic Beasts' Is 'Harry Potter' Minus The Magic
Are we ready for Katherine Waterston, Hollywood star? The indie muse, last seen dyed in a mysterious glow in Inherent Vice and shooting death stares in Queen of Earth, begins her blockbuster career eating a hot dog. I mean that literally—the 6-foot actress mischievously (but not inconspicuously) scarfs a hot dog when she first appears in Fantastic Beasts and Where To Find Them, the first in a new series of wizard films from Harry Potter scribe J.K. Rowling. With her nasally and almost frail voice and big watery eyes, Waterston stands out among not just the barrage of CGI but also her peers, going entirely sincere amongst a rather silly affair. When we first meet her character, the disgraced Auror (a sort of wizard police officer) Tina, it's hard to tell if she got demoted over incompetence or because she let her bleeding heart get in the way of the job. Waterston, however, negotiates her ill-defined character with a charmed grace, standing straight in slender dresses and bringing a pulse to this capitalist machine of a film (next year she tries once again in Ridley Scott's latest Alien installment).
And how else to describe Rowling's refusal to give up on the world she created? Fantastic Beasts launches a whole new set of characters in the 1920s, with Waterston playing second fiddle to Eddie Redmayne's Newt Scamander, who Potter diehards will recognize as the author of a textbook from which this film takes its title. Redmayne once again displays a disconcerting lack of charisma—too boyish to give off any confidence and too self-aware to feel authentic. Here he plays a Londoner come to New York who accidentally releases some of the eponymous creatures onto the CGI city (for a film having ten times the budget of James Gray's The Immigrant, its attempt to create an authentic Lower Manhattan street feels laughably amateur). Fantastic Beasts might allow for some fun for fans curious to see how the other side of the pond acts in Potter-world (they call the non-wizard Muggles "No-Maj" for instance), but toward what purpose?
When Rowling initially optioned her Harry Potter series to Warner Bros. some 16 years ago, she entrusted Steve Kloves to take each book and find a 3-act narrative in her rambling stories designed well for the page. But for Fantastic Beasts, Rowling has written the screenplay herself, which attempts to simultaneously introduce a whole new set of characters while also world-building. The success of Rowling's previous adaptations was based on the audience familiarity with the otherwise incomprehensible plot, letting the actors embody characters they already knew. Rowling's script here feels rushed at every moment, the characters particularly ill-defined simply because of the amount of things that have to happen, including a political election, a wizard government whose job is to stand around and look concerned, a child abuse subplot, and Colin Ferrell.
What remains most curious about Fantastic Beasts is the strange ways it attempts to appeal to both a young audience while reeling in nostalgic millennials. This choice demands the creation of no less than two dozen, partly cute and fuzzy creatures; one imagines that these pricey 30-second CGI cameos will justify their cost in toy sales. But beyond keeping the romance rather chaste, many sequences throughout the film aim for a more adult-oriented audience that could easily terrify small children. While the stakes of the Potter films always felt big to the characters but rather small in scale, Fantastic Beasts ends with an almost Marvel-like destruction via a giant cloud rampaging through New York City. With its overloaded CGI trickery and a particularly adult appeal, the film seems to attempt to lasso in both audiences to mixed results.
During the heyday of the early 2000s, Warner Bros. came the closest of any studio to defining a particular house style between its Potter and Batman franchises, a rarity in the conglomerate era. Since the appointment of Kevin Tsujihara, WB has struggled to find an identity with a series of mishaps, flops, and a few surprises defined as outliers. Fantastic Beasts feels like an attempt to reclaim to reclaim that moment, but the desperateness of this—by the studio, Rowling, and everyone else—has erased any of the magic of its previous iterations.
Fantastic Beasts and Where To Find Them opens everywhere on Friday.
Peter Labuza is a freelance film critic, whose work has appeared in Variety, Sight & Sound, and The A.V. Club. Follow him on Twitter.
As Editor-in-Chief of our newsroom, I’m extremely proud of the work our top-notch journalists are doing here at LAist. We’re doing more hard-hitting watchdog journalism than ever before — powerful reporting on the economy, elections, climate and the homelessness crisis that is making a difference in your lives. At the same time, it’s never been more difficult to maintain a paywall-free, independent news source that informs, inspires, and engages everyone.
Simply put, we cannot do this essential work without your help. Federal funding for public media has been clawed back by Congress and that means LAist has lost $3.4 million in federal funding over the next two years. So we’re asking for your help. LAist has been there for you and we’re asking you to be here for us.
We rely on donations from readers like you to stay independent, which keeps our nonprofit newsroom strong and accountable to you.
No matter where you stand on the political spectrum, press freedom is at the core of keeping our nation free and fair. And as the landscape of free press changes, LAist will remain a voice you know and trust, but the amount of reader support we receive will help determine how strong of a newsroom we are going forward to cover the important news from our community.
Please take action today to support your trusted source for local news with a donation that makes sense for your budget.
Thank you for your generous support and believing in independent news.

-
With less to prove than LA, the city is becoming a center of impressive culinary creativity.
-
Nearly 470 sections of guardrailing were stolen in the last fiscal year in L.A. and Ventura counties.
-
Monarch butterflies are on a path to extinction, but there is a way to support them — and maybe see them in your own yard — by planting milkweed.
-
With California voters facing a decision on redistricting this November, Surf City is poised to join the brewing battle over Congressional voting districts.
-
The drug dealer, the last of five defendants to plead guilty to federal charges linked to the 'Friends' actor’s death, will face a maximum sentence of 65 years in prison.
-
The weather’s been a little different lately, with humidity, isolated rain and wind gusts throughout much of Southern California. What’s causing the late-summer bout of gray?