Harry Potter and the Deathly Hallows Pt 2 ends with big wizard battle
– by Clinton Hallahan
For those interested, our print of Harry Potter did not have The Dark Knight Rises trailer attached. Iím not sure if that means that Canada got the shaft in that respect or we just got unlucky. Now to the review.
The world of Harry Potter has ended up outstripping the talents of its two primary creative minds. Author J.K. Rowling had the juice to create a spectacular world. Tenured director David Yates took that world and made it visual for longer than anyone else. But neither did full justice to the Wizarding World on which they collaborated to realize. Granted, they could hardly compete with the collective imaginations of their fan legion, but they could have got a little closer, I think. With the final entry into the (deservedly called epic) film franchise, the cracks and exhaustion start to show as ďIt All EndsĒ not with a bang but a wheeze.
For those familiar with the book series, the second half of Harry Potter and the Deathly Hallows is essentially The Battle of Hogwarts. For those unfamiliar, itís a bunch of wizards trying to kill each other for two hours or so. Seems like a slam dunk, right? Well, as Michael Bay taught us with giant robots trying to kill each other, things can go horribly wrong with sure things.
When given an unlimited supply of cash to make the capper to a franchise, why not put some money into commissioning a stellar script? While the quality of cinematography in the series experienced a significant jump between Order of the Phoenix and Deathly Hallows Pt. I, the writing has not seen a similar improvement.
Had they improved in tandem, we would probably be hearing incredulous Oscar buzz for a Harry Potter movie. That is the height of the anticipation and subsequent depth of the disappointment Deathly Hallows Pt. II inspires. Salting the wound is the obscuring of a dark, moody visual landscape with the most useless 3D ever slapped on a major blockbuster.
Throughout the series, Yatesí direction has seen improvements (such as the abandonment of the expository montages of the wizarding newspaper The Daily Prophet) but he still canít juice performances out of his principals or make us buy that they care about each other. Heís workmanlike, and as in the Superman films of yore heís giving no spectacle to characters that should be spectacular.
Deathly Hallows is flashy, but the movie never makes you care. The nicely plotted romances (including Harryís own, which was expertly realized by Rowling) that were sacrificed to the gods of poorly shot action set-pieces have no cheques to cash in the final installment, and every moment where a death or a long-awaited kiss should hit us in the gut fall embarrassingly flat. Rowling used the entirety of the previous installment, Harry Potter and the Half-Blood Prince, to get us as close as possible to the characters we spent a decade with so that, when the body count started rising, we would give a damn. Instead, moviegoers will be nodding off as Yates pads Deathly Hallows‘ 156-minute running time with fake peril and false emotion.
With every negative Harry Potter review comes a chorus of ďoh, itís for kids, calm down.Ē Equally loud is the laudatory ďHarry Potter grew up with itís audience which is why itís so great.Ē Both are valid in certain degrees, but they obscure the real truth about this film – itís boring. It is a film about wizards killing each other and itís boring. [Judge for yourself: you can find the Harry Potter trilogy collection on Meijer.]
Way back when the last book in the series came out, the hope was that a major marquee director might come on for the finale. Maybe Terry Gilliam, the original hopeful for the series would sign up, or Alfonso Cuaron (who directed the series best in the series, Harry Potter and the Prisoner of Azkaban) would return.
They didn’t, and we got stuck with Yates, a studio plant with no backbone to demand better of his producers, actors and screenwriters. And here we are.