HP retrospective #1:

On July 15th, Harry Potter and the Deathly Hallows: Part 2 is released nationwide, bringing to a close the biggest commercial franchise the world has ever seen, thanks to producer David Heyman. To mark the evolution of this groundbreaking series and its contribution to cinema, I will provide a daily retrospective of the past 7 films to grace the silver screen, culminating in a review of the final part. In case you haven't seen any of the films (where the hell have you been?), spoilers abound. Enjoy!

Harry Potter and the Philosopher's Stone

2001, PG, Directed by Chris Columbus
Starring: Daniel Radcliffe, Rupert Grint, Emma Watson, Robbie Coltrane, Warwick Davis, Tom Felton, Richard Griffiths, Richard Harris, Ian Hart, John Hurt, Matthew Lewis, Alan Rickman, Fiona Shaw, Maggie Smith, Julie Walters, Zoe Wanamaker

Our introduction to The Boy Who Lived establishes JK Rowling’s universe as one of wonderment, awe and a bandwagon you completely must jump on to in order to experience the phenomena surrounding officially the biggest franchise the world has ever seen. Upon hearing that iconic piece of music at the very start of where the magic began, Chris Columbus’ debut, from the pre-credits Privet Drive sequence right through to the Hogwarts Express departing the school of witchcraft and wizardry, massively succeeds in appealing to younger audiences as well as everybody else.

Not only is the scope gargantuan due to adept translation of page to screen, but largely thanks to the casting which is – for want of a better term – damn inspired. It is important to note the first of Richard Harris’ two appearances as the incredibly warm and dependable presence of Hogwarts headmaster Albus Dumbledore, before he sadly passed away in 2002 (a few weeks before the release of Chamber of Secrets). In fact, it is near impossible to imagine Michael Gambon’s Dumbledore present here, his characterisation that works so well Azkaban onwards having no place in Colombus’ Potterverse; tonally, Harris nails it. It is something of a surprise how little screen time franchise-stealer Alan Rickman has here as the snarling, scintillating Severus Snape. More is made of Maggie Smith’s fierce, yet loveable McGonagall. Acting heavyweights aside, this is the film that initially made mega superstars out of national treasures Rupert Grint, Emma Watson and the big man himself, Daniel Radcliffe – he IS Harry Potter. Stale at times with cringing delivery, it is important to remember that at 12 years old, not many other children could have embodied the character as well as Dan and shared the screen with such skilled stars. Only upon re-watch does it become alarmingly surreal how Radcliffe has grown from boy to man during the space of these films, all adding to the authenticity of proceedings.

Philosopher’s Stone is as watchable as it was a decade ago, with the effects and set-pieces holding up in what has become a 3-D obsessed time (lets face it, Quidditch is awesome whichever format it’s in), however more flaws become prevalent too. If they can ever be overlooked though, it is for the introduction to what is a long line of films. Today, the direction the books and films alike were headed is as clear as the Mirror of Erised and as a whole, the culmination was a lot darker than anything audiences envisaged at such an early stage. In terms of reminiscent value, this doesn’t get any stronger.

4/5

Best Moment:

There is plenty to choose from: Diagon Alley; the Sorting Hat; Ron's heroic game of Chess – but it has to be the first glimpse of Hogwarts; such an iconic location and will always be as jaw-dropping, shiver-inducing and plain exciting as the first time witnessed.

Defence Against the Dark Arts Teacher:

Turban wearing Pr-pr-professor Quirrell (Ian Hart). Works on a level of not being an obvious villain, and the reveal of Voldemort etched to the back of his head is visually disconcerting.

Best Character:

I’m going to attempt to stray from saying Snape each time, so first winner of this category for me is Ron Weasley. Comic timing has always come to Grint naturally. Narrowly losing out is Argus Filch, the series' most underrated character.

Best Quote:

Hermione Granger: Now, if you two don’t mind, I’m going to bed before either of you come up with another clever idea to get us killed – or worse, expelled
Ron Weasley: She needs to sort out her priorities

Readmore...

Triangle

15, 2009, Directed by Christopher Smith
Starring: Melissa George, Liam Hemsworth, Michael Dorman, Rachel Carpani

Genres are blurred in what first appears to be an out-and-out horror flick in British director Christopher Smith’s third outing (after the passable, gruesome Creep and Severance), which sees Melissa George’s Jess leaving behind her autistic son to enjoy a boating trip with a group of friends. When disaster strikes at sea, they seek refuge in what appears to ba an abandoned ship – well, abandoned until they begin to be stalked by a shotgun-wielding maniac – but why does Jess feel that she has been on the ship before? It is important that you are not fooled by the seemingly throwaway plot, the offbeat feel is present from the offset which aids in enhancing the uneasiness throughout. When the film eventually kickstarts, you realise that all content is integral to set in motion the events that unfold; and from the moment our protagonist steps foot on deck – without giving anything away – that is when the sci-fi element is layered into proceedings (AKA time to crack out the pad and paper). Triangle is a film that requires multiple watches, yet unlike numerous films of the same breed, it rewards you on initial view also. Smith unravels his material like a pro, genuinely impressing and creating excitement about future prospects where there was none before. Overlooked upon release, this is intelligent and brave enough to be destined for cult status. Former Home and Away star Melissa George delivers in pretty much carrying the entire film in a way in which her character has severely differing motives at pivotal moments: no mean feat.

The problem with a film obsessed with such complexity however is that flaws are inevitable. There is an overbearing highlight on imagery which eventually desensitises when you should be creeped out. Combine this with the amount of questions left unanswered, and if you let it, this could aid in frustrating and alienating the viewer in equal measure. The ending does live up to the remainder of the film – yet alternatively, the previous content leaves it impossible not to be completely devoid of the feeling that things could have been wrapped up just that little bit tighter. As a horror, the film fails – as a science-fiction brain-busting feature that has been crafted with skilled complexity, Triangle works best. Not to everyone’s taste, granted, but the head-slapping twists in which the jigsaw pieces slot into place are what make the film completely watchable.

If Triangle is the shape of things to come for Christopher Smith, all eyes should be fixed upon what he does next.

•••••

Readmore...

Hereafter

2010, 15, Directed by Clint Eastwood

Starring: Matt Damon, Cécile De France, Frankie McLaren, Thierry Neuvic

There is no doubt about the fact that Clint Eastwood is a living legend: offering up some of the most iconic performances and thrilling films in cinema history, it comes as something of an obvious surprise that Clint should venture into territory explored in his latest… the afterlife. His first film since personal passable bittersweet drama Gran Torino (in which he starred), Hereafter is a considered fitting pet project which makes it crystal that even after all these years, Dirty Harry himself is out to impress nobody but his own passion. Not that you should judge a film on past achievements though. Hereafter asserts itself pretty immediately in a large-scale, breathtaking yet devastating way that nobody can expect unless spoiled. We are soon introduced to three strands of plot each with three central characters from around the globe: Marie, a French journalist who encounters a near-death experience; George, an American with a ‘gift’; and Marcus, a young Londoner who has someone close to him pass away. It’s only a matter of time until their paths cross. Think a sombre Love, Actually.

The film has huge promise and does manage to sustain your attention through intrigue and low-key performances; these impress where the action sometimes confuses (mainly to do with Bryce Dallas Howard’s radiant Melanie), but Matt Damon overcomes the obstacle well by portraying his tortured George with the emotive feeling of a trapped soul longing for freedom from the ‘curse’ he possesses. The script lends focus to strong characterisation enhancing the performances and paving the way for future interactions. Alternatively, the problem with Peter Morgan’s script lay in the deprivation of substance when most needed, meaning that Hereafter manages to slip into melodrama. Similarly, when the film finally decides it wants to work its way towards a resolution, the anti-climatic way in which strands are intertwined are so brief that the endurance of the lengthy running time does not feel as worthwhile as you hope. The film may have huge promise, yes, but the film could also have been a whole lot more – especially in the hands of a legendary craftsman. Hereafter bravely asks the question ‘what happens when we pass away?’… It’s a shame that the viewer will be questioning Clint’s choice of film instead.

●●●●●

Readmore...

Date Night

15, 2010, Directed by Shawn Levy
Starring: Steve Carrell, Tina Fey, Mark Wahlberg, Taraji P. Henson

Steve Carell, and Tina Fey: matchmade in comedy heaven, right? You would be hard pressed to think so once the credits of Date Night are rolling in front of you. No doubt they have their moments but said moments occur sparingly. The problem lies in the worn-thin plot which sees a happily married couple head out on their 'date night' - a much-needed break from their hectic daily schedules and parental routines. After being turned away from a plush restaurant, they craftily nab the Tripplehorn's reservation only to soon discover that the Tripplehorns possess something that some very nasty individuals want. Hence a night of chaos for the hapless couple, offering nothing new to the table of mistaken identity.

Date Night is a confused film; it seems that there are random strong elements for what could be a thriller at play, with a genuinely tense chase sequence convincing. All sense was ironically thrown out of the window after director Levy (Cheaper by the Dozen, Night at the Museum) landed on his feet with two US television comedy heavyweights (The Office and 30 Rock), as he attempted to integrate hilarity into proceedings. He is successful in parts (take a bow Marky Mark Wahlberg) but embarrassingly misses the mark in others (Ray Liotta, you used to be so cool...). There is some fun to be had with some unexpected cameos, but at the end of this night, you will most probably be staring at the screen with a furrowed brow, as opposed to a cheeky grin, confused as to how Levy missed such a golden oppourtunity.

●●●●●

Readmore...

Thor

2011, 12, Directed by Kenneth Branagh

Starring: Chris Hemsworth, Tom Hiddleston, Natalie Portman, Anthony Hopkins

If there’s one filmic concoction you never expected to see, it’s pretty certain that Thor as seen by Kenneth Branagh was up there. You won’t be surprised to know that the resident Shakespearean thesp wasn’t Marvel’s first choice for the gig (Matthew Vaughn currently too busy with X Men: First Class), but an odd decision that makes for curious viewing. One of many ongoing vehicles for next year’s massive mash-up The Avengers, Thor was always going to be the toughest hero to handle: he is, after all, the Norse God of thunder. But handle it Branagh does… and with panache too. Opening with Thor’s entrance to Earth witnessed by astrophysicist Natalie Portman and her team (Stellan Skarsgård and something of a show stealer, Kat Dennings), we are then shown an extended pre-cursor to events on Asgard in which the gap is filled – and for a classic comic character, there is a long gap. Asgard itself puts the Marvel into marvellous; to describe it here would not do the landscape justice, but the scope of it is something else. Branagh succeeds in completely immersing you into what unfolds onscreen, so much that when the film flits back to Earth, Thor feels like a completely different film altogether.

Chris Hemsworth (notable for a cameo in 2009s Star Trek) plays the cape-wearing hammer-thrower deprived of his powers very well indeed. Spitting lines that bear serious meaning on his own turf but provide heavy laughs on Earth is an impressive feat emphasised by the support around him. However, the ‘stranger from a strange land’ gimmicks which involve the mighty one marching into a pet store to request a horse do wear thin. Which is where Thor is let down: through the hammering across of moments that work best. Granted, the story is lifted from a comic book, but this fails to prevent the plot twist of the jealous brother hungry for power (an unfortunately weighed down Tom Hiddleston) causing the eye to roll every so often. The key was not to take itself too seriously creating something of a double-edged sword (or hammer) for Branagh to attempt to dodge tonally. There is fun to be had though: the action is surprisingly not clunky, with the dialogue being just that – somehow adding to proceedings.  Similarly, everything manages to be tied up in a neat manner with the hero thankfully not outstaying his welcome; just as well seeing as we’ll be paying ole’ Thor a visit, albeit with company, next summer.

3/5



Readmore...

Scream 4

2011, 15, Directed by Wes Craven

Starring: Neve Campbell, David Arquette, Courtney Cox, Emma Roberts

1996 saw Wes Craven mould his love of the slasher movie into an all-knowing modern classic that followed the text book but still provided shocks. Its sequel followed a year later packing enough jumps and standout set-pieces to be a worthy adversary to the original. The completion of the trilogy in 2000 may have sapped in originality, but managed to achieve something rarely seen: a truly enjoyable horror trilogy. Ending it there seemed to be the right move, all things considered: Scream 1 and 2 scriptwriter Kevin Williamson had quit whilst ahead, not content with just forming a retread of previous successes. Flashforward 11 years later and let me introduce to you Scream 4, the completely unnecessary but hugely watchable franchise-entry; its Ghostface for the YouTube generation. Campbell, Arquette and Cox all return to Woodsboro for the release of Sidney’s book based on her (scarily regular) dice with death, only to find yet another masked murderer targeting the highschool friends of her niece, Jill Roberts (played by Emma Roberts AKA Julia's niece).

In typical Scream fashion, the opening scene embeds in the memory, this time around focusing on establishing Screa4m as zanily tongue-in-cheek; something not to be taken seriously, but not to underestimate either. Seeing Sidney, Dewey and Gale back on the big screen is an oddly pleasant feeling and – although irrationality overrules – you root for them, no matter what. Supporting characters help things move along nicely too, namely Hayden Panettiere’s feisty Kirby. Not only is the gore-factor upped (note the 15 certificate), but the comedic one too. Arguably the funniest entry thus far, Scre4m also boasts the most leftfield shocking climax too. What makes the film feel whole though is how the continuity from the original trilogy extends the authenticity of the universe (the film club at Woodsboro hold an annual Stab-a-thon), as well as our universe (when told she is going to be watching Saw IV, a female character tells her friend she cannot stand torture porn – she may as well be Craven in a wig). It is very easy to dismiss Scre4m as just another flimsy sequel, but this is anything but; the world may not have been screaming out for another, but with any luck, you will be after viewing this.

3.5/5

Readmore...

Scream 3

2000, 18, Directed by Wes Craven

Starring: Neve Campbell, David Arquette, Courtney Cox Arquette, Patrick Dempsey

More of the same in this third outing which sees Campbell, Arquette and Cox back to nettle yet another incarnation of the iconic Ghostface killer, who this time around sets his sights on the cast of Stab 3, forcing Sidney from isolation. As far as Part 3’s go, this is a damn good attempt, staying in tune with the original and its sequel whilst adding its own fresh layer to the fore. The scare factor is noticeably reduces, but the aptly named Ehren Kruger’s script – whilst not as tongue-sharp as previous writer Kevin Williamson’s – manages to be smart enough for its own good at the best of times; additionally, Craven deftly and skilfully shoots inspired set-pieces (Sidney being hunted within the Hollywood set of her own home from the original Scream). What is lacking however are the number of engaging characters previously killed off (one of who returns in a nice touch), but the returning cast are always a welcome presence. It is usually rare for a horror franchise to still shock third time around, but that Scream 3 does after putting everyone possible into the spotlight for killer. The Scream films extend themselves from the horror and the spoofing of its own conventions to become avariation of the classic ‘whodunit’ plot. Talk of this film completing the trilogy within the film does cause an eye roll knowing that Craven’s Scream 4 – released a whole 11 years later – hit cinemas a few weeks back. However, a poignant, yet unnerving ending may leave you screaming for more.

●●●●●

Readmore...