'Crimes is Grindewald' is the sequel to the enjoyable 'Fantastic Beasts and Where to Find Them,' and is the 10th film in the Harry Potter Franchise. Unfortunately, It is by far the worst. The screenplay is constructed in such a way that it feels like material from three different films mashed together. Irrelevant and unecessary characters are introduced to no end, seemingly to increase ticket sales rather than the strength of the story. The one major flaw in the previous installment was the weakness of Credence's character, whose presence became fatiguing, which makes the fact that he is central to the 'Crimes of Grindewald' so frustrating. He is given more screen time than 'Grindewald' himself, who is far more compelling. The film would have suffered much less if 'Grindewald,' whose motivations are clear and fascinating, was central and focused on rather than the bore that is Credence and the confusing Lestrange family. There is an incredible sequence involving Grindewald in which Depp is at the top of his game, and so is the story. However, like most scenes in this film, it descends into a CGI heavy, deafening explosion-fest. Speaking of deafening, every single scene of simple dialogue is distracted with loud score, which is well composed but overused. It is as if we need to be constantly reminded we are watching a Harry Potter film, which leads to several extremely forced scenes at Hogwarts. These scenes lack the magic of the previous instalments due to the CGI appearance of the castle and it's interior, and the bombardment of elements supposed to induce nostalgia, such as quidditch soaring overhead and pointless references to characters from previous films. Jude Lawe as Dumbledore should have been central to the story with Grindewald, not a forced side character. The performance is Jude Lawe being himself. There is nothing Dumbledore-Esque. Even the costume does not suggest Dumbledore. The editing, frame by frame, is often terrible and jarring right from the headache inducing opening. Extreme close ups are wasted in needless dialogue, meaning when they could be used to create tension, nothing is felt.