When they adjusted the Hobbit movies so there was going to be three instead of two, it required some very noticeable padding and filler material to meet out that requirement. The second Fantastic Beasts film (of a planned five film series, expanded from a trilogy) feels exactly that way, a mostly table-setting movie with more incidents than plot, a few pertinent revelations, and not much in the manner of resolution. The second Fantastic Beasts does improve on its predecessor in several regards. It introduces a formidable villain that’s well played by Johnny Depp. It introduces a compelling younger version of Albus Dumbledore that’s played by the dashing Jude Law. It also finds more purpose for its hero, the shy magical zookeeper Newt (Eddie Redmayne), as the series inches closer to a wizards-vs-wizards world war. Things take a turn for the darker; within the First Act, a baby is murdered. They didn’t even do that in the new Halloween. The larger world building of Beasts, written by author J.K. Rowling for the screen and directed by longtime stalwart David Yates, has been its biggest draw. The supporting characters are back, though not everyone has much to do. Rowling is improving as a screenwriter but she still has trouble executing exposition-heavy scenes, resorting to sequence after sequence of characters prattling on. Ultimately, it doesn’t feel like there’s much of consequence until the very end, so we endure characters running through underdeveloped and contrived storylines. One of these involves Katherine Waterston mistakenly believing Newt is engaged (his brother is) and somehow, despite having access to magic let alone other forms of media, never findings out the easy truth. It’s stuff like that that show me Rowling was struggling to find material for every character to push them forward on this now extended journey. Crimes of Gindelwald is an overall step in the right direction for the prequel series even if this individual movie has trouble standing on its own magical merits.
Nate’s Grade: B-
The Harry Potter publishing universe is almost twenty years old and has racked up more money than can be printed, so it was only a matter of time before some enterprising soul thought about expanding from author J.K. Rowling’s seven novels. I wasn’t anticipating that it would be Rowling as the one reopening her world for untapped franchise potential and financial windfalls.
Newt Scamander (Eddie Redmayne) is one of the world’s foremost experts on magical creatures and will one day write a definitive magizoology textbook for students to doodle inside while they sit bored in magic class. He’s traveled to New York City in 1926 and through a series of misunderstandings he exchanges briefcases with Jacob Kowalski (Dan Fogler), a factory drone trying to secure a loan to open a bakery. Inside Newt’s briefcase is a collection of colorful and unique magic creatures with goofy Dr. Suess-styled names, and they break free and need to be rounded up. Porpentina Goldstein (Katherine Waterston) is a disgraced magic authority agent who tries to regain her reputation by helping Newt gather his living contraband before they are discovered by muggles, or as the Americans refer to them, no-majs. Percival Graves (Colin Farrell) is a gravely serious magic official keeping a close watch on the alarming activity. He also has an unclear interest in a fringe political movement that believes witches are real and a real threat. If only they knew the full extent, as a mad wizard-supremacist is also on the loose.
Fantastic Beasts and Where to Find Them is a better franchise catalyst than it is a movie, with several competing storylines that don’t really gel or feel properly developed. This feels like a series of set pieces in search of a movie to unify them. Much of the movie involves dueling storylines that dawdle until they are smashed together at the very end, much like Rowling’s storytelling habit of keeping so many characters and storylines on the fringes and simmering until they are called upon for revelatory disclosure. Storyline number one follows a daffy British magizoologist as he scours New York trying to retrieve his strange and adorable magical creatures. It’s relatively light and mostly fun. Storyline number two is a buddy movie with Newt and Jacob, which is also light and mostly fun. Then storyline number three is an abusive anti-magic movement that may be conspiring to kill wizards that stand in their way, revealing to the wider world the magical realm and the potential threat it poses. This storyline is much darker and adult and it contrasts sharply with scenes like Newt doing a silly dance to present himself for mating with a gigantic rhinoceros creature in heat. It’s hard to reconcile whimsical magic creatures one moment and stern child abuse the next. The varying tones don’t ever gel. The majority of the film is watching Newt scamper around trying to recapture his creatures and stumbling into bigger plot events that are kept on the edges of relevancy.
This movie is more about laying a foundation than telling a relatively complete and gratifying story. The narrative brick laying may be essential for future sequel success but it doesn’t make for the best experience in the theater. Rowling’s first crack at screenwriting has a few hallmarks of novelists-turned-screenwriters (cough, Cormac McCarthy, cough), namely the fuzzy narrative clarity and digressive asides that deter the film’s progressive momentum. It’s hard to critique certain themes and characters that feel useless (Jon Voight for starters) without knowing whether Rowling will decide they are secretly important three movies onward. I don’t know what this movie is about other than setting up lucrative sequels.
Another area of concern is whom Rowling has decided to be the leader of this voyage back in time; Newt Scamander is quite a lackluster lead character for one movie, let alone the prospect of up to five of them. I found this protagonist rather boring. He’s a kind figure and cares for his exotic animals but the man is pretty much the exact same person by the end of the movie as he is at the start and with only passing hints at a secret tragic past as something to enliven what is assuredly a dull, mumbling character. I’m not against Rowling’s decision to catapult a mild-mannered, shy, polite man as her main character especially in the face of paranoia and fear mongering, but the guy has to at least be interesting. There is not one interesting thing about this character outside of his briefcase full of magical creatures. He is a void of character, a blank slate that isn’t any more filled in by the conclusion. The lack of substance also allows Redmayne to retreat into his actorly tics playing up Newt’s social anxiety, almost to a degree that seems recognizably autistic (at least it was with my friend who saw it with me who is on the spectrum). He feels sensitive to the point that his body is going to collapse inwardly upon itself. I saw the same impulses with his overrated, overly mannered performance in The Danish Girl. When lacking significant depth to his character, or at least something of significant interest, he overcompensates with what he’s given and that’s not usually for the best. Just see Jupiter Ascending if you’re truly brave enough or equipped with enough liquor.
I think the stronger lead character would have been Newt’s buddy, Fogler’s no-maj Jacob Kowalski. He’s already our entry point into this older time period so why not make him the focal point? Jacob is a far more interesting character and he’s actually astonished by the revelations of a magical world right under his nose, adding to the general sense of discovery for himself as well as the audience. He’s the more relatable character as he discovers the world of magic and develops fluttery feelings for a magical lass (Porpetina’s psychic sister, Queenie, played by Alison Sudol). The sweet and flirty stutter-stops of a possible romance with Jacob and Queenie are far more heartfelt and engaging than whatever the film tries to pretend has been set up for Newt and Porpentina. By the very end, the movie expects a few smiles and arbitrary sexual tension to compensate for the rest of the film’s 133 minutes that did not establish one passing moment of attraction. Sorry, Rowling, but cinematic romance doesn’t work in spontaneous vacuums. If you want us to fee for the characters and compel them to get together, we need to see your work if you want the coupling to be remotely satisfying.
The rest of the actors do what they can with the thin scraps of characterization that Rowling provides. Fogler (Fanboys) is a reliable source of comic relief. His sincere pleasure from the magical world and its inhabitants makes him endearing, seeing this world through necessary fresh eyes. Waterston (Inherent Vice) is a screen presence that stands out from the pack, though her character is too muted to leave the same impression. Her character’s goal is to clear her name but she seems to readily forget this motivation. Until writing this review I had no idea that Sudol (Transparent) was the songstress A Fine Frenzy, an artist I’ve enjoyed for a decade. Her acting isn’t quite as accomplished as her singing but Queenie is something of a walking ethereal, sad-eyed psychic kewpie doll. Rowling treats her more as a handy plot device when she needs some item explained or intuited. Queenie’s budding relationship with Jacob makes her more interesting. There are plenty of familiar faces that are stranded in underwritten and confusing roles. The likes of Colin Farrell, Samantha Morton, Ezra Miller, Zoe Kravitz, Carmen Ejogo, Jon Voight, and Ron Perlman, as a mo-cap goblin, must have simply been happy to participate, and I can’t blame them considering the fortunes that await this franchise.
The world building is hazy yet the world of wizards in 1920s New York City is intriguing enough to keep me hopeful that a better movie could emerge later. We’ve never been stateside before in this universe so my first point of interest was the difference between the magical authorities from across the pond. Apparently the magic-inclined aren’t legally allowed to romantically mix with no-maj folks (call it muggle miscegenation laws). That’s interesting but we only get a glimpse. The Second Salem movement in the United States seems to believe that witches and real danger. They seem like a fringe political conservative movement. It’s interesting yet we only get another glimpse at best. Then there’s an evil wizard who wants to wipe the world of the unclean, surely a setup for You-Know-Who and his malevolent Death Eaters. He’s kept further to the background and only bookends the movie. I just looked it up and Voldermort was born in 1926, so expect even more foreshadowing in the future. I wanted to know more about the world inside the Magical Congress of the United States of America. Why do they have a killer magic tar pit and what does it really do to people? There are passing references to the pre-established Harry Potter universe, small morsels for the crowd to hold onto to get them through this muddled expository journey. Still, there is an undeniable entertainment value of seeing magic interact with a 1920s American landscape. A magic speakeasy is a delightful moment to open up this world in amusing historical ways. Newt’s suitcase and its vast interior world is also a great source of wonder and a potent highlight.
Fantastic Beasts doesn’t quite rise to the level of fantastic implied with its title, though if you’re a Potter fan it could be a welcomed and promising start. That’s really what this movie is, a start, and not so much a complete story. It’s a Potter prologue that provides just enough to get an audience interested but not enough to perhaps get them excited. The main character is a total washout and the varying tones and storylines fail to gel. Rowling has some screenwriting novice growing pains and her general world could use more texture amidst all the special effects sequences. Those magic critters are cute I’ll give them that. There just doesn’t seem like there’s enough here of genuine substance in any capacity, other than setting up a playpen for its four sequels. Director David Yates has shepherded the Potter universe for five movies now. The visual continuity from prequel to main story arc reminds me of Peter Jackson’s turn at reviving the Hobbit trilogy. Actually, Fantastic Beasts reminds me of the Hobbit films in more ways than one. They were both somewhat crass moneymaking ventures inarticulately stretched and padded to ensure more movies and more profits. They are also decidedly lesser than the main story arc. To my movie muggle tastes, Fantastic Beasts ranks toward the bottom of the Potter franchise, just a step above Half-Blood Prince. Too often it feels like textbook Potter stuff minus the character investments. It’s a series of set pieces and latent possibilities and less a full movie. Then again, take my so-so critique with a relative grain of salt, Potterheads.
Nate’s Grade: B-
While not the best film in a series spanning ten years, part two of the final chapter of Harry Potter is a solid, satisfying close that’s fittingly grandiose but also sneakily emotional at points. The plot finally gets simplified once all those silly magic items are found, and what we have is a war at the Hogwarts School of Magic between good vs. evil. The action sequences are the best in the film’s series and some very dark events take place, including the deaths of many characters, some children, though too many critical deaths occur off camera. Harry (Daniel Radcliffe) faces off against Voldermort (Ralph Fiennes) for the fate of the world, and after the protracted, wearisome setup of Part One, it’s a relief to say that the final film moves like it’s on fire. There’s very little downtime and a great pull of urgency to the flick. So what if Ron (Rupert Grint) and Hermoine (Emma Watson), Harry’s best pals since the start, are completely forgotten and useless in the movie’s final hour. The focus is all on Harry and his messianic sacrifices. Alan Rickman shines again, showing a depth of emotions not available to Snape until the character’s final revelations. In fact, there needed to be more Rickman, but I can lay this same charge with every film. I wish the resolution, spanning forward 19 years, would have slowed down a bit and accept the paternal/maternal changing-of-the-guard as the emotional payoff billions of people have been waiting for. Harry Potter and the Deathly Hallows: Part Two is a thrilling, gratifying capper to a series that, while to me was never as magical as the Potter die-hards have claimed, was, over eight movies and almost 20 hours, an enchanting franchise that stayed consistent in quality and entertainment. Here’s to you, Potter. Now maybe I can finally stop hearing people badgering me about how the books were better.
Nate’s Grade: B+
When author J. K. Rowling dropped off her last 700-page tome in the Harry Potter series, the world went into a state of mourning, right after ravishing every page of The Deathly Hallows. There would be no more literary adventures. You can expect that same sense of longing for the studio suits over at Warner Brothers considering the Harry Potter franchise has grossed over five billion worldwide. The bounty was about to be over, especially with one last book to adapt into an eventual overly long movie. Then the suits came across a genius strategy: split the last book into two separate movies. Filmed simultaneously over a year, Harry Potter and the Deathly Hallows will be released in two parts eight months apart. I understand that it’s hard to say goodbye to the boy wizard that charmed millions, and tow movies almost guarantee that nothing will be left out in the adaptation process. It also ensures that Warner Brothers will have two movies that make giant piles of money instead of one. Deathly Hallows: Part One plays its part setting up the finale, but judging from what we’re given, this series conclusion could have effortlessly been condensed to one overly long film instead of two.
Picking up shortly after the events of Half-Blood Prince, Harry (Daniel Radcliffe) and his best pals, Ron (Rupert Grint) and Hermione (Emma Watson), are on the run. Lord Voldermort (Ralph Fiennes) is determined to be the one to slay the boy wizard. Voldermort and his influence have taken over many facets of the magic world’s infrastructure, and they are all after Harry. Harry learned that his snake-faced nemesis has broken his soul into pieces and hidden them inside magical items known as horcruxes. Unless these horucruxes are destroyed, Voldermort will never be able to truly die. Harry and company has to hunt down those accursed horcruxes while being hounded by evil forces determined to kill them all.
For a solid hour I felt like I was watching the second best Harry Potter film; Alfonso Cuaran’s Prisoner of Azkaban still stands as the artistic highpoint. Watching the characters on the run and constantly in peril spurs your protective feelings. We’ve seen them grow up, vanquish evil and hormones, and now they seem to be in serious danger and you feel real tension. I stopped to realize how much I actually cared for these characters and how concerned I was. There is a somber sense of finality, and I enjoyed characters and events colliding back together for one big finish. It truly feels like everything is coming to a titanic close, and the film manages to be the most emotionally satisfying of the series. That’s likely because it’s building off six films of character growth and goodwill. But it’s also due to the fact that Deathly Hallows spends the most time examining the characters of Harry, Ron, and Hermione. The series has followed a very lockstep plot formula and now it’s been stripped away. The kids are removed from the school setting so we get to spend plenty of time alone with the trio. In fact, it’s a bit too much time. We spend an interminable amount of time with these kids lost in the woods, waiting for something important to happen. While we wait we have the trio address fears, anxieties, and emotional hang-ups, which turns Part One into the most insular, reflective movie in the entire series. While this makes the movie rich with feeling before we come to the finish line, it also makes the film somewhat boring because these kids aren’t that deep.
Luckily, Deathly Hallows Part One presents some of the more exciting action sequences and tense mood yet for a franchise mostly built upon investigation and Hardy Boys stuff (with extra magic!). The Harry Potter world has always been more interesting to me the darker it got, and now the series has now firmly converted to the dark side (as far as PG-13 fantasies go). The opening shows each of the three kids being left alone, including Hermione protecting her Muggle parents by wiping away their memory of their daughter. Tough stuff. Then we transition to a floating Hogwarts teacher held prisoner by Voldermort and his legion of Death Eater followers. She’s struck dead and we see a tear roll down her bloodied face right before Voldy’s pet snake eats her. Parents be warned, this is no longer kid’s stuff. Death comes to several supporting characters and there’s plenty of spooky stuff that adds up to a gloomy atmosphere. The infiltration of the Ministry of Magic is a thrilling sequence. Harry and pals disguise themselves as Ministry workers to locate a horcrux from Dolores Umbridge (I cheered at the sight of Imelda Staunton back in pink). The scene is tense and lays out the stakes and important characters to fear. It also produces some potent drama as Ron is disguised as a Ministry member whose innocent wife is being interrogated. The moment culminates in a genuinely exciting chase sequence that got me excited for what was ahead. What I failed to realize is that there was not much more ahead.
With all that extra attention spent on character, I can also say that Part One has some definite issues with its stagnating narrative. Having never read the books (get over it, Potter nation), I go in blind every time short for the mega-spoilers that I can’t help but learn thanks to all the Potter readers inhabiting my circle of friends and family. I can tell you if something doesn’t make sense because I don’t have the background knowledge of the books to fill me in. There was plenty in Deathly Hallows that made little sense. The adaptation introduces the titular deathly hallows, which ends up being another three super special magic items. There’s a nicely Gothic animated sequence to try and explain the three hallowed items, but it all adds up to a fairy tale that makes little traction. The narrative has already shaped up into a portentous scavenger hunt. Harry and friends are after the remaining horcruxes containing the soul of Mr. Snarly Face. The entire 145 minutes of Part One is spent destroying a single horcrux, leaving 3 or 4 remaining. Now they add three more magic items to find and it all compounds my feelings of fatigue. Did I mention they also have to find a magic sword? How many magical items are these kids going to be responsible to find and how many am I expected to care about?
I left the theater with many questions about what the hell the deathly hallows were, why they mattered, and all sorts of other storylines too. I could not follow all the new characters they threw so late into the game, especially some old wand maker and his connection to wand thievery. And when the hell did everyone gain the ability to teleport at will? Why don’t they teleport all the time then, especially out of danger or when they’re chased through the woods? My friend (an avid Potter reader) had to deal with a litany of stupid questions, likely treating me as a parent would a child asking about where the sun goes when it becomes night.
Also, the film is intended to be a prelude for an epic finale but it mishandles its own sense of climax at several turns. I’ll refrain from heavy spoilers, but one of the most interesting characters, played by an actor I adore, is killed off screen. Off freaking screen! Some other character comes back and says, “Oh yeah, he’s gone,” and then everyone looks glum and goes about their business. It happened so matter-of-factly and anticlimactically that I never made the connection. So later in the film when it’s confirmed that this character is in fact dead, I felt pretty thick. The last chapter of Harry Potter is destined to be a combined 5 hours, and you’re telling me they couldn’t fit in a fight scene that lets this character go out with style? I suppose somebody thought it was more dramatic to just mention a character death offhand. Following this logic, I can’t wait for the grandiose finale where Harry Potter just walks back into a room and says, “Oh, by the way, I just killed Voldermort. So who wants to get a bite to eat?” The emotional climax of the film involves the death of a supporting character I have yet to see onscreen for 8 years. How am I supposed to feel for a character that hasn’t been seen for so long? The ending is sad, sure, but it would have been more effective if: a) I knew what significance the character had in the narrative, and b) it didn’t look like Harry was clutching a rubber doll to his chest. We spend too much time with new characters that end up having minor worth or come across as one-offs. The movie would have benefited from some of the deathly exposition that clogged the first two film’s storylines. As the movie comes to a close it should be clearing things up instead of polluting the narrative with more names and faces.
Director David Yates has been captain of the Potter helm since 2007’s Order of the Phoenix, and he seems to have found a unifying visual balance for the series. The film’s tone has gotten heavier and having a singular director take the series to an end looks to be a godsend. Despite a lengthy slog in the middle, Yates keeps the pacing fairly tight and tense. The visuals and special effects are just as luminous as ever. The true treat for me is watching all these splendid British actors assembled: Alan Rickman, Ralph Fiennes, Imelda Staunton, Helena Bonham Carter, Timothy Spall, Jason Isaacs on Team Evil, and Brendan Gleeson, David Thewlis, Rhys Ifans, Julie Waters, Robbie Coltrane, Michael Gambon on Team Good. Then there are new additions like glass-jawed David O’Hara (Wanted) and the great Peter Mullan (Young Adam) making strong yet short appearances. I don’t really care why all these talented thespians are together but I’ll enjoy them all the same.
Harry Potter and the Deathly Hallows: Part One is the beginning of the end, literally a prelude for the finale coming to theaters in summer 2011. The film manages to be exciting and dramatic and equally boring and confusing, especially for someone who has willfully refused to read the books. Spending more time with the teen actors has its pluses and minuses, chief minus being that while they wait for stuff to happen so do we. The manufactured end point for the movie feels far from satisfying, but the film manages to effectively whet the appetite for the follow-up. As the Harry Potter series comes to a close it’s hard not to get nostalgic and apologetic, but I resist this urge. Looking back, many of the Potter films have been fine pieces of entertainment but also too long, misshapen, and too slavish to making a book on tape. Part One of Deathly Hallows still falls victim to some of these faults, but the accumulated goodwill of the series and actors makes a 145-minute prologue easily bearable.
Nate’s Grade: B
Not every film franchise gets to a sixth installment, although Police Academy and Friday the Thirteenth managed to. After over twelve hours of storytelling, is it even possible for non-fans to enter the Harry Potter world (only an idiot would begin a film series at number six)? I am a willful Muggle to this universe. I am content to wait for the movies, and it drives the readers nuts. “The books are so much better,” they all say. Then they tell me what was left out of the movies, and honestly it’s usually a good thing. Harry Potter and the Half-Blood Prince echoes the increasing darkness of the later books by author J.K. Rowling, but now I can finally walk out of a Potter film and know, without a shadow of a doubt, that the book must have been superior. Half-Blood Prince is a film adaptation that spends too much time in all the wrong places.
Lord Voldermort (Ralph Fiennes, seen only for literally a split-second) is back with a vengeance, and his followers, Death Eaters, are branching out and attacking the Muggle world as well. Headmaster Dumbledore (Michael Gambon) has asked Harry (Daniel Radcliffe) for help in recruiting a former Hogwarts professor. Horace Slughorn (Jim Boradbent) used to be an esteemed potions professor, and one of his bright students was none other than a young Voldermort (Hero Fiennes-Tiffin, Fienne’s real-life nephew). Dumbledore and Harry explore liquid memories that belong to the Dark Lord in hopes of learning how to defeat him. In the meantime, the kids are under attack not by Voldermort but by hormones. Harry’s friend, Ron (Rupert Grint) and Hermione (Emma Watson), are secretly in love but neither has the heart to say something. Ron uses his star Quidditch status to “snog” with the eager Lavender Brown (Jessie Cave), who’s infatuated with Ron. This infuriates Hermione and she seeks comfort in a studly student herself. Harry is starting to feel his heart go pitter-patter for Ron’s sister, Ginny (Bonnie Wright), which requires Harry to be very delicate in negotiating the “Can I snog your little sister?” portion of male friendship. Oh yeah, and apparently Harry is also using a potions textbook that used to belong to some whiz kid known as the Half-Blood Prince.
The further I get away from Half-Blood Prince the more certain I am that it is the least involving film of the series. The plot is somewhat nebulous and unclear, and so much of the story is dominated by boring teenage romance. I understand that Hogwarts is swimming in hormones, but these kids spend the whole time making shifty doe-eyes at each other than doing anything substantial. That makes for a boring romance, and when the movie is dominated by this stuff for two hours it doesn’t make the movie too engaging. I understand that the Ron/Hermione courtship has been setup for some time, but it takes forever to move even incrementally closer to that coupledom. The Harry/Ginny material is lacking at best. She’s such an empty presence and they do so little with her character that I have no idea what would warrant Harry’s affections. There is no spark, no heat, no sexual tension, and no interest. I was actually relieved when Half-Blood Prince drops practically every storyline with twenty minutes left. Seriously, these plotlines aren’t resolved or capped or even addressed, they just don’t exist once Harry learns the word “horacrux.” And let’s talk about that subject just for a moment. Dumbledore lures Professor Slughorn back to Hogwarts so Harry can learn Voldermort’s secret of eternal life, a secret that Dumbledore already knows because he’s been taking leaves to locate and destroy Voldy’s horacruxes. I felt detached and disenchanted throughout Half-Blood Prince.
There are other plot holes and irregularities, and I wonder if writer Steve Kloves (who took the fifth movie off) is merely serving up 153 minutes of plodding prologue for the big finish. The drama is becoming more static and the supporting characters of previous installments reappear and do little but stand with hands in their pockets; they have nothing to do. The flashbacks to Voldermort as a child reveal relatively nothing new; only indicating her was a creepy kid. The two action sequences squeezed in are not from the book, meaning Kloves was trying to add some excitement to what is a rather sleepwalking storyline. The action sequences mean little; the opening attack on London’s Millennium bridge offers some nice sights but little consequence, and the destruction of the Weasely house comes across like Kloves was grasping for greater conflict. Too much of his film is the young love foibles with the occasional sideways glance at Draco (Tom Felton) brooding in the shadows. The ending, with its notable death, still strikes an emotional cord but it also comes across as rushed and without depth and resolve.
What is the significance of the Half-Blood Prince in this adaptation? The mysterious figure was good in potions class and his old textbook helps Harry in class. That is it! The late reveal of the identity of the Half-Blood Prince is so incidental and off-the-cuff, that the actor practically has to say, “Hey, remember that whole Prince thing like an hour ago? That’s me. Yep. So see ya.” It’s such an indifferent plotline handled with such indifference. I had to ask my Potter-versed wife why Rowling would even bother naming the book after such a minor, irrelevant plot footnote. Kloves’ adaptation feels lost and mostly like filler.
So why does a slower, less coherent, less interesting Harry Potter rank better than the first two films? Because director David Yates takes an artistic step forward and this addition has style to spare. Returning to the Potter director’s chair, Yates has a stronger feel for the world and creates striking film compositions with the added help of noir cinematography by Bruno Delbonnel (Amelie, Across the Universe) and the foreboding production design by Stuart Craig. The sets have a grand Gothic appeal and help compensate in tone for what is lacking in the screenplay. The opening bridge attack allows for soaring flights through London and then into the magic world, and it’s a great opening visual rush. The memory flashbacks have splendid visual artistry to them as we watch inky brush strokes coalesce into solidified images. It’s a fantastic special effect and it is welcomed every time. This isn’t one of the more special effects heavy installments but the effects are as good as ever especially when seen through Delbonnel’s lens.
It’s interesting to have watched the three main actors grow up in their roles, which also gives them the ability to revert to autopilot when the movie lags. In the Half-Blood Prince, the trio burrows back into previous acting episodes. Radcliffe gets talked to a lot so much of his acting in this jaunt seems to involve intense bouts of nodding. He does have one sequence of exaggerated comedy when he swallows a luck potion, and the actor feels delightfully unrestrained. Grint gets the most screen time he’s had in ages and continues to dial up the daffy humor. As I stated with my review of Order of the Phoenix, I think Watson began as the best actor of the trio and is now on a fast-paced downward slide. Her character gets to experience jealousy and heartache, and Watson shows some ability to convey mixed emotion. The most interesting actor of all the kids is Felton, who I found to be surprisingly empathetic. He’s tortured over his fate, a mission given to him by the Dark Lord. He’s torn apart by moral indecision and a sense of duty. That’s way more interesting than watching Ron and Hermione try to make each other jealous. Why didn’t Kloves devote more time to the anguish of Draco? That’s where the drama is. There just isn’t much room for character growth and acting in the rest of Half-Blood Prince. The best acting award goes to Broadbent (Moulin Rouge, Hot Fuzz). He conveys the regret of Slughorn with every manner and gesture. His sad, poignant confession is oddly the emotional highlight in a movie that includes a momentous death later.
Harry Potter and the Half-Blood Prince feels like a half-hearted adaptation, with way too much time spent on tepid teen romance. This is the most visually arresting Potter film next to 2004’s Prisoner of Azkaban, but it just fumbles the storytelling. The sixth film is too often boring and inconsequential. Too much of the film feels like it was purely made for the die-hard Potterheads, and if any Muggles have questions of clarity they are required to seek out a friend to ask. This is just sloppy writing. It feels like everyone is just busying themselves before the sprint to the big finale. We’re just about at the end of the long winding road that is Harry Potter, though I’m sure the fact that the producers are splitting the final book into two movies likely will not mean that the individual movies can finally have a two-hour running time. Half-Blood Prince would have greatly benefited by being shorter, more precise, and more significant; the 16-year-old romantic squabbles seem so slight in the backdrop of Voldermort and his army on the rise. I’ll give everyone the benefit of the doubt, but this is not a Potter venture I’ll likely return to again. It just doesn’t measure up when it comes to movie magic.
Nate’s Grade: B-
The most interesting aspect for me about the ongoing Harry Potter big screen adaptations are how each new director handles the material. Christopher Columbus got the ball rolling with his autumnal and slavishly loyal films, Sorcerer’s Stone and Chamber of Secrets. Then Alfonso Curaon made the series feel magically its own for the first time with Prisoner of Azkaban. Mike Newell made The Goblet of Fire feel like a teen romantic comedy. Now it’s David Yates’ turn to be at the Potter helm. Yates has little to his resume beyond assorted TV movies, but his direction must have impressed the Potter brass. Harry Potter and the Order of the Phoenix feels somewhat like setup to more important events yet to come, but with Yates and new screenwriter Michael Goldenberg, this new entry feels up to the entertainment challenge of its forebears.
Harry Potter (Daniel Radcliffe) is entering his fifth year of education at Hogwarts School of Magic. The Ministry of Magic is trying to silence Harry’s claims that Voldermort (Ralph Fiennes) has arisen anew. They’ve installed one of their own, Delores Umbridge (Imelda Staunton), as the new Defense Against the Dark Arts professor. But she’s not interested in teaching the students actual magic. The Ministry feels it’s best for the Hogwarts youth to just have a theoretical knowledge, so they’re distributed out of date and censored textbooks. Umbridge gathers greater power and eventually has the run of Hogwarts, forcing Harry and his friends, like longtime buds Ron (Rupert Grint) and Hermoine (Emma Watson), to practice their own protection spells in hiding. Umbridge and the Ministry are convinced Harry and Headmaster Dumbledore (Michael Gambon) are trying to unseat their leadership. In actuality, they’re just trying to warn people about a war that is on the horizon.
The fifth movie is also the most grownup in tone and temperament yet. Harry is in a very different place and feeling alienated from the important people he cares about. The Ministry of Magic is turning the public against him by making everyone believe that Harry is a liar. Order of the Phoenix explores a lot of psychology and doesn’t have anywhere near the humor of previous installments, especially 2005’s heavily comedic Goblet of Fire. I think this is a step in the right direction. Harry’s mortal enemy has been resurrected, his schoolmate has been murdered, and you can’t really go back to zippy Quidditch matches and silly spells that make people hurl slugs. The Harry Potter universe has gotten darker and more serious and Order of the Phoenix reflects this. Harry warns his peers during a training session that death is a real consequence of what they’re about to face, and that bad things will indeed happen to good people.
[I]Order of the Phoenix[/I] is structured into two dominant storylines: Umbridge and the school repression, and Voldermort’s attempts to infiltrate Harry’s mind. Voldermort is handled as a murky puzzle, mostly in a succession of quick flashes and nightmares, and this results in the storyline feeling more like a fuzzy memory. I found the Umbridge character to be far more interesting and even far more menacing than He Who Must Not Be Named. The combination of political suppression of the truth, fear mongering and paranoia, torture interrogations, trampling over civil rights, and teaching students censorship in the name of safety is a fascinating correlation with our own modern society. The book may have been released in 2003, and written by an English woman, but the political repression feels alive and relevant today. While I appreciated the well-crafted peeks to the nasally-challenged Dark Lord, I found Harry raging against the system trying to keep him mum to be the real meat of Order of the Phoenix. I lost some interest once Umbridge had been vanquished.
Harry Potter advocates of all stripes and sizes constantly ask me why I have little interest in sitting down and reading the actual novels, why I’m content to wait the extra time for the movies. The answer is two-fold: 1) I’m lazy, and 2) I think the slimmed down screenplays may boil the essence of J.K. Rowling’s verbose books and present a better and more focused story. In all honesty, I don’t really care about who wins a Quidditch game, or how someone helps a magical creature that is of no consequence to the story. Rowling’s massive tomes seem so overstuffed, and I repeat that I am passing this judgment never having read one book, that I don’t mind all the superfluous subplots and characters that are trimmed and/or eliminated in the path of economic storytelling. The essential essence of the story and all the really important elements will be included, any the quibbling of what gets tossed aside is often enough to confirm for me that I don’t need to read the books to see what I’m missing. Then again, this entire paragraph may do nothing but prove that I am willfully ignorant or just plain wrong. Oh well. Two more movies to go and two more books not to open.
Yates brings in the shortest Harry Potter movie to date at 2 hours and 18 minutes long, but the hastened pace sometimes causes the film to stumble or lack clarity. There’s a death late in the film (while I’m sure the entire world knows the person’s identity I will refrain from spoiling) and I had no idea what had just taken place. The death is abrupt, and the person just sort of leans back and disappears into some gate that is never given context. The whole scene is meant to be defining drama but if I hadn’t known ahead of time what was supposed to happen then I would have been scratching my Muggle head. The prophecy that the bad guys want so badly seems rather unimportant, so the ending scuffle over this little glowing ball seems like much ado about nothing. Most of the new characters, like Helena Bonham Carter as Bellatrix Lestrange, don’t feel well incorporated into the overall story. But the worst part of the hasty pace is the fact that when we finally get an all-out wizard battle between good and evil that it ends far too quickly. The Order and Voldermort’s Death Eaters are going at it with colorful attacks jettisoned around the room, but this exciting bite of action turns out to be little more than a morsel. After the wizard-on-wizard combat, Order of the Phoenix goes back to a pretty predictable finish with little in payoff. And was Hagrid’s giant goofy brother really necessary to include?
The adults have always been impeccably cast in the Potter flicks, and real star of the fifth film is Staunton (Vera Drake). Umbridge is a juicy role and Staunton brilliantly plays this fascist little school marm in Pepto pink. She has this exquisite stuttering giggle, and her ever-smiling, cherubic face quivers like there are strings attached. Staunton makes even the most innocent “excuse me” sound like it’s dripping in poison. She’s so peppy and seemingly wholesome but in the same moment is There’s one scene between Umbridge and Professor Snape (the irreplaceably awesome Alan Rickman) where he can’t stand her presence and adds an extra dose of snarl in his annoyed replies; this woman has found a way to make Alan Rickman even more awesome. Order of the Phoenix is at its best when Staunton is stalking the corridors and enforcing her brand of control. I’ll miss her dearly.
I think I need to reverse my stance on the child actors of this profitable series. With the first movies, it seemed like Watson was the real star as the studious and nitpicky Hermoine. It also appeared that Grint would never escape the trappings of squealing cowardly relief. Radcliffe seemed to suit the material but felt overly wooden and I predicted he would never be anything but a blah actor. I now must rescind my earlier predictions. Watson has become more grating as the films progress, She outshined her fellow actors when they were 11, but now that she’s a teenager and working the same limited, yet extremely huffy, acting range, turning her character into more of an annoyance than an ally. Radcliffe, on the other hand, is nicely growing into his role and expressing deeper emotions and anxiety as the weight of his Harry’s name and destiny weighs on him. I think Radcliffe will have a career outside the boy wizard; he was strikingly funny on an episode of HBO’s Extras that sent up his youthful image. I don’t think we’ll ever hear much from Grint and Watson again once the end credits roll on movie seven.
After five movies, I think we pretty much know what we’re going to get with the Harry Potter series. The stories are getting more mature and serious, and this means that the films need more attention to adaptation and weeding out the nonessential elements. I think the fans that are still grumbling about the books being butchered have missed the point (they’re also still fuming over the “new” Dumbledore, even though Gambon has been in 3 movies now). Order of the Phoenix was the longest book but has been turned into the shortest movie, and it still resonates as an exciting and emotionally engrossing fantasy now taking definite and irrevocable steps toward something dark and meaningful. Yates is scheduled to direct the next Potter chapter,The Half-Blood Prince, and even though I won’t have a new director’s style to analyze, I look forward to more adventures with these characters. Just don’t tell me to read the books.
Nate’s Grade: B