FILM REVIEW || Director David Yates | Writer Steve Kloves (based on the novel by J.K. Rowling) | Cinematographer Eduardo Serra | Starring Daniel Radcliffe, Emma Watson, Rupert Grint, Ralph Fiennes, Alan Rickman | Length 130 minutes | Seen at Peckhamplex, London, Tuesday 26 July 2011 (and at home on Blu-ray, Tuesday 7 January 2014) || My Rating good
“It all ends.” By this point, the eighth and final film in this massively popular franchise, this was all the posters needed to say — indeed, I scrolled through many pages of images trying to find any with the movie’s title on it. And I suppose you might say, glancing at my slightly lower rating, that I was disappointed by this finale, but in truth it has everything I imagine the audience wants in this kind of thing. I can hardly, in fact, suggest that anything else would have been suitable. It’s just that, having invested so much time over so many films in these characters and the actors who play them, the kind of frenetically-paced action setpieces and big emotion-laden sentimentality that HP7b delivers feels just a mite generic. Still, aside from a humorous possibility held out by the very final scene of a ‘Harry Potter: The Next Generation’, it does at least deliver on the poster’s promise. It all ends.*
FILM REVIEW || Director David Yates | Writer Steve Kloves (based on the novel by J.K. Rowling) | Cinematographer Eduardo Serra | Starring Daniel Radcliffe, Emma Watson, Rupert Grint, Ralph Fiennes, Bill Nighy | Length 153 minutes | Seen at home (Blu-ray), London, Wednesday 1 January 2014 || My Rating very good
It seems nowadays like almost a cliché of the tentpole blockbuster adapted from a popular source text, that the final book will be split into more than one film — as if it’s just so sensible a commercial manoeuvre that why would we question it? It happened with The Twilight Saga: Breaking Dawn (2011/12), and is set to happen with The Hunger Games: Mockingjay (2014/15) — and then there’s The Hobbit (2012/13/14), which has been split into three — so it’s worth recalling that before Deathly Hallows there hadn’t been much of a precedent for this kind of thing (Kill Bill? Though that wasn’t from a novel). Wanting to be faithful to the text and make the inbuilt fans of the franchise happy, and wanting to create a good cohesive piece of narrative cinema, can often pull filmmakers in two directions, so splitting a text can also be a means to ensuring there’s enough time to do justice to the author’s intentions (see also: making a miniseries). And it’s true that previous instalments have had so much plot in them, that just trying to keep up with what’s going on is quite an exercise. So going into the denouement to this wizarding saga, the producers have decided two films are necessary, and who am I to argue?
FILM REVIEW || Director David Yates | Writer Steve Kloves (based on the novel by J.K. Rowling) | Cinematographer Bruno Delbonnel | Starring Daniel Radcliffe, Emma Watson, Rupert Grint, Jim Broadbent, Tom Felton | Length 153 minutes | Seen at home (Blu-ray), London, Wednesday 1 January 2014 || My Rating very good
I suppose as a reviewer you get to the point with a long-running series where you run out of useful things to really say about it, or maybe it’s just because I’ve been writing these things every other day for the past few weeks. This sixth instalment of J.K. Rowling’s teenage wizarding series is every bit as well-crafted as the previous film, and follows in much the same vein. If anything it encompasses some even darker textures, though these are counterbalanced by some of the deftest touches of humour so far in the series, and while it draws back somewhat from the previous film’s political worldview, there’s enough here that’s enchanting.
FILM REVIEW || Director David Yates | Writer Michael Goldenberg (based on the novel by J.K. Rowling) | Cinematographer Sławomir Idziak | Starring Daniel Radcliffe, Emma Watson, Rupert Grint, Imelda Staunton, Gary Oldman | Length 138 minutes | Seen at home (Blu-ray), London, Monday 30 December 2013 || My Rating very good
I am unfamiliar enough with the Harry Potter saga that I miss plenty of references. For example, the pseudonym “Padfoot” is used a few times in this film to refer to Gary Oldman’s character Sirius Black, and harks back to the names on the magical map seen in the third film, but none of this is explained and I had to ask my wife to fill me in (for others in my position, the names refer to the four friends who created the map — “Padfoot” being Black, “Moony” being David Thewlis’s Lupin, “Wormtail” Timothy Spall’s Peter, and “Prongs” Harry’s now-dead father, the first two of whom return here as the core of a sort of wizarding resistance movement). Likewise, I wonder if this film is remembered for being the one in which Harry gets his first kiss (an incident very quickly brushed past), or maybe for its strong undertones of teenage ennui and moodiness? However, if it’s remembered for anything, it’s surely for the way it links in the developing story of Lord Voldemort’s return with the wider universe within which Potter resides. As such, it’s also the film where author J.K. Rowling’s political allegorising starts becoming particularly evident.