Directed by:
David YatesScreenplay:
Steve KlovesCinematography:
Eduardo SerraComposer:
Alexandre DesplatCast:
Daniel Radcliffe, Emma Watson, Rupert Grint, Ralph Fiennes, Helena Bonham Carter, Alan Rickman, Carolyn Pickles, Jason Isaacs, Bill Nighy, Bonnie Wright (more)VOD (4)
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Harry Potter and the Deathly Hallows, the seventh and final adventure in the Harry Potter film series, is a much-anticipated motion picture event to be told in two full-length parts. Part 1 begins as Harry, Ron and Hermione set out on their perilous mission to track down and destroy the secret to Voldemort’s immortality and destruction - the Horcruxes. On their own, without the guidance of their professors or the protection of Professor Dumbledore, the three friends must now rely on one another more than ever. But there are Dark Forces in their midst that threaten to tear them apart. Meanwhile, the wizarding world has become a dangerous place for all enemies of the Dark Lord. The long-feared war has begun and Voldemort’s Death Eaters seize control of the Ministry of Magic and even Hogwarts, terrorizing and arresting anyone who might oppose them. But the one prize they still seek is the one most valuable to Voldemort: Harry Potter. The Chosen One has become the hunted one as the Death Eaters search for Harry with orders to bring him to Voldemort... alive. Harry’s only hope is to find the Horcruxes before Voldemort finds him. But as he searches for clues, he uncovers an old and almost forgotten tale - the legend of the Deathly Hallows. And if the legend turns out to be true, it could give Voldemort the ultimate power he seeks. Little does Harry know that his future has already been decided by his past when, on that fateful day, he became “the Boy Who Lived.” No longer just a boy, Harry Potter is drawing ever closer to the task for which he has been preparing since the day he first stepped into Hogwarts: the ultimate battle with Voldemort. (official distributor synopsis)
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The seventh book is unnecessarily, although readably, drawn-out in the first half; and the second half has a fateful finale as we like them best. It’s movie adaptation has only got half way so far (somewhere around page four hundred of about six hundred), but it’s already better than the book at least in that Yates succeeded in approaching it in a way that doesn’t come across like unnecessarily watered down porridge. And if so, certainly less than the book is. Thanks to the convincing (!) emotions, the finally acting well central trio, the great atmosphere and Desplat, it works wonderfully. It’s true that there are a few scenes that stand out in quality above the others, but even so, the movie works primarily and mainly as a whole. But still, it is evident that where the creators dared to let their fantasy loose and not to stick word for word to the book, the movie is clearly at its best. Now all I can wish for is for Yates to manage to deal with the special effects-full, epic second part, while not forgetting those emotions and characters. If he manages that, we’ll have something to look forward to. But if he doesn’t, we will really have something to “look forward to".
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The weakest Harry Potter instalment split into two parts? Oh dear, we're raking in the dough, we're raking in the dough. And unfortunately it phoned it in – the first part is boring. A fairy tale with thriller elements and coincidentally uncovered graves. It's sad, but as a fan, I'm disappointed. The music, the actors, the effects – nothing new, lackluster and drawn out. A brick on you. The second part might finally make you cry; so far it's been nothing but smirking. I had fun making fun of it. Otherwise, I was yawning. Sorry, Harry, you were acting like Frodo, and I won't forgive you for that. A weaker 3 stars.
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The world of magic has truly entered the darkest of times, but despite what random critical outbursts might suggest, it has absolutely nothing to do with the quality of the film adaptation. David Yates and Steve Kloves had a challenging task of transforming the "slower and more talkative" part of the Deathly Hallows into separate explosive blockbusters. The director stood out with incredible bravura, and whether the Trio is leaving home, the Tale of the Three Brothers is being told, or the horcrux is being destroyed, the magical atmosphere literally shines from the screen. However, Kloves' screenplay occasionally takes shortcuts, and if I didn't know the source material backwards and forwards, I would be quite lost. But even though Bill and Fleur become members of the Order from one minute to the next, when they never appeared in the Harry Potter and the Half-Blood Prince, and Minister Scrimgeour steps onto the scene only to quickly depart from it, the criticisms are hard to find in the outcome. The overall impression for me screams that from four hundred pages full of expectations of great things and the fulfillment of smaller ongoing goals, an epic fantasy has been created full of intoxicating moments and such sincere private drama that it takes your breath away. Harry Potter and the Order of the Phoenix and Harry Potter and the Half-Blood Prince have now gained a successful companion, and if David Yates was the king after the previous installment, he is slowly running out of room to climb.
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I don't know if this is a fantasy tribute to Satantango, but the fact is that, if all the shots were thrown out where the characters were mindlessly stumbling or looking soulfully into nothingness, there would be about 30 minutes of film left and I would have a hard time defending its purpose. The entire Harry Potter series has since become an unbearably stretched and non-inventive spectacle on the silver screen, which includes purposeful piling of meaningless branches and the creation of soap opera odor. Yet even in terms of character rendering, it is poor and dead tired, without sparkle and anything that would keep a person’s attention who does not look at it as an overpriced illustration of a book. Utterly useless, boring, and I dare say even a stupid half-part.
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The first half of the great Potter finale is unexpectedly quiet and conversational, but it certainly doesn't hurt, because it is without exception superbly acted. The establishing part, which makes you realize how far not only the characters, but also their representatives have come since 2001, is probably the best of all. The tension is almost palpable for the whole 140 minutes, the gloomy atmosphere as well, but the screenwriter and director still know when they can afford something to lighten things up and the viewer doesn't get bored. The action start was top notch, while the ending with Bellatrix and Dobby is one of the most impressive moments of the whole series. And Alexandre Desplat got to compose the music, which was a safe bet.
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