Sleepy Hollow


Christopher Walken really needs a new dental plan.

Christopher Walken really needs a new dental plan.

(1999) Supernatural Horror (Paramount) Johnny Depp, Christina Ricci, Miranda Richardson, Michael Gambon, Casper Van Dien, Jeffrey Jones, Richard Griffiths, Ian McDiarmid, Michael Gough, Christopher Walken, Marc Pickering, Lisa Marie, Steven Waddington, Claire Skinner, Christopher Lee, Alun Armstrong, Mark Spalding, Jessica Oyelowo. Directed by Tim Burton

Whenever Tim Burton concocts a new movie, critics everywhere go into a lather coming up with new hosannas in praise of his stuff. Generally, they’re right. By the time his interpretation of the Washington Irving classic came out the paroxysms of praise had become almost scary in their effusiveness. Which was – and is – fine by me.

Sleepy Hollow, after all, is supposed to be scary. However, those bookish moviegoers who have actually read the Washington Irving story and still remember it may find the liberties taken here with the source material a bit off-putting.

Ichabod Crane (Crane) is a foppish New York City constable who has been a bit of a gadfly in the NYPD of 1799. While the judges of the period are content with brute force and intimidation to solve their crimes, Crane is all for using scientific method and deductive reasoning to come to the truth. For his troubles, he is exiled to a small Dutch community in the Hudson Valley called Sleepy Hollow to solve a trio of ghoulish murders.

It seems that several prominent citizens of the Hollow have lost their heads. The trouble is their quite dead torsos are rather upsetting to those townspeople who stumble upon them. When Crane arrives, he encounters the plucky young daughter (Ricci) of a local farmer (Gambon), who imparts the story of the Headless Horseman: A somewhat rabid, bloodthirsty Hessian mercenary (Walken in essentially a cameo but still perfectly cast role) meets a bitter end in the woods near Sleepy Hollow, betrayed by a pair of wood-gathering little girls. The townspeople, who include a self-righteous priest (Jones), a timid notary (Gough), a lusty doctor (McDiarmid), a brave and burly farmer (Van Dien) and a corpulent burgomaster (Griffith) are all of the belief that the Horseman is responsible for the unspeakable crimes. Crane, of course, believes that the murderer is flesh and blood.

The game changes when Crane personally witnesses a murder, sending his faith in science and reason spinning into doubt. Unfortunately for the movie, he resolves this rather quickly; I thought it would have made for an interesting subplot to see Crane struggling between the evidence of his senses and his own rationality. Instead,  Crane and the plucky young farmer’s daughter go on a ghoul hunt, with all the violence, gore and spookiness that goes with it.

There are a lot of fairly impressive names behind the camera including Francis Ford Coppola, Larry Franco, Scott Rudin and Kevin Yagher, with Danny Elfman producing a suitably spooky score. While many of Burton’s key personnel are also in place, this seems less of a typical Tim Burton movie and more of a mainstream action/horror flick. There are a lot of missed opportunities here to bring some credible subplots into play that wouldn’t burden the plot as much as the ones that writers Kevin Yagher and Andrew Kevin Walker decided to leave in.

Burton is wise enough to leave enough atmosphere in to make for some genuinely creepy moments, but his leitmotif of announcing the Horseman’s presence with lightning and thunder effects is a bit over-the-top. Depp makes an interesting Crane, retaining much of the bumbling fright of Irving’s Crane while giving him a heroic bent for the modern moviegoing audience to identify with. Ricci is lustrous in her ingénue role.

There’s some great work in Sleepy Hollow, enough that you’ll be talking about it well after the final credits have concluded. However, with a bit more of Burton and a bit less of Hollywood, this would have been a much more hellacious ride.

WHY RENT THIS: Tim Burton loveliness. Deep and Ricci make a fine couple. Genuinely spooky.

WHY RENT SOMETHING ELSE: A bit more mainstream than we’re used to with Burton. Over-the-top in places.

FAMILY MATTERS: The horror, gore and violence is fairly graphic. There’s some sexuality as well.

TRIVIAL PURSUITS: This was one of the last two films released on Laser Disc (the other was Bringing Out the Dead).

NOTABLE HOME VIDEO FEATURES: None listed.

BOX OFFICE PERFORMANCE: $206.1M on a $100M production budget; the movie broke even during its theatrical run.

COMPARISON SHOPPING: Beetlejuice

FINAL RATING: 8/10

NEXT: World War Z

Quartet (2012)


Professor McGonagall at the Hogwart's 50th Class Reunion.

Professor McGonagall at the Hogwart’s 50th Class Reunion.

(2013) Dramedy (Weinstein) Maggie Smith, Tom Courtenay, Billy Connolly, Pauline Collins, Michael Gambon, Sheridan Smith, Andrew Sachs, Dame Gwyneth Jones, Trevor Peacock, Michael Byrne, Ronnie Fox, Patricia Loveland, Eline Powell. Directed by Dustin Hoffman

Going from the spotlight to obscurity must be an incredibly hard situation to accept, particularly when it is age that has relegated you thus. Even the most beautiful and bucolic of environments may pale when compared to the limelight.

Beecham House in the English countryside is certainly a beautiful environment. Named for the noted British conductor Sir Thomas Beecham, it is now a retirement home for professional musicians – opera singers, popular vocalists, chamber musicians and the like. Like many such institutions, it faces economic difficulties and relies on benefit concerts staged by its residents, many of whom still have names that resonate on the English music scene.

The upcoming concert marking the birthday of Giusseppe Verdi is the occasion for a kind of organized panic overseen by Cedric Livingston (Gambon) – who pronounces his first name See-dric, not Seh-dric as he reminds Wilf Bond (Connolly) regularly to his great exasperation.

Otherwise, things are pretty much as normal at Beecham House where friends and colleagues Wilf, Reggie Paget (Courtenay) and Cissy Robson (Collins) live a quiet life of looking back. Wilf though is just as concerned with chasing skirt as his libido remains in full flower even if the bloom has withered a bit on the rose. Cissy is growing increasingly forgetful but it is just a part of the indignities of old age. The somewhat courtly Reggie gives lectures to opera to schoolchildren who are more interested in rap. Everything is more or less peaceful.

But things are turned upside down on themselves and into an uproar when the pretty but harried Dr. Lucy Cogan (S. Smith) introduces the newest resident – the diva Jean Horton (M. Smith), one of the most famous and beloved opera singers of her day. However, she had a tumultuous marriage to Reginald that ended with her infidelity. They haven’t spoken in decades.

But worse still Cedric wants a reunion between Jean, Reggie, Wilf and Cissy whose quartet of Rigoletto‘s “Bella figlia dell’amore” was one of opera’s greatest moments ever and has recently been re-released on compact disc – which in itself is a bit anachronistic. Jean however wants no part of it and Reggie while understanding that the revenue such a reunion would generate might well save their home is understandably unenthusiastic for such a grouping. However, he’s game and sets out to change the mind of the diva.

Cissy for some reason seems particularly motivated to see it happen and she befriends Jean who seems somewhat lost and soon the reason for Jean’s reluctance becomes clear – she’s terrified that her voice is gone, that in doing this performance her fans will always remember her for a last debacle instead of the great career she enjoyed. And as the time draws nigh for the performance, it appears certain that there may not be a home for her to live in for much longer.

This is Hoffman’s directorial debut (technically he directed Straight Time for a few days back in 1978 but withdrew after he found it too difficult to direct and act simultaneously – he doesn’t appear hear as an actor for that reason) and he chose his material wisely. As a director he’s smart enough to keep things fairly simple; there aren’t a lot of camera tricks here, the storytelling is simple and elegant. While he doesn’t show anything extraordinary neither does he make any mistakes.

This is based on a play by screenwriter Ronald Harwood, a Hollywood veteran whose résumé includes The Dresser, The Pianist and Being Julia. Like many of his works, Quartet shows Harwood’s fascination for performers and their venues. This shows performers in the twilight of their careers which you’d almost expect from Harwood who is himself a septuagenarian.

The material here holds some interest but it is the actors who really elevate the work. Connolly, one of Scotland’s great treasures, is at his very best here – a charming Lothario who has no problem expressing his sexuality, seemingly fascinated that he still has any. Wilf claims that a stroke left him without any sort of filter so he says what’s on his mind which the others seemingly forgive him for, although the wily Scot may well be just saying that so he doesn’t have to waste time and energy prevaricating.

But Courtenay will be the one I remember here. His quiet gentility has a timeless quality to it. When I think of English gentlemen, it is Reginald Paget that will come to mind. He’s polite and gentle, but also shows fits of outrage and wounded pride from time to time. More than the others he’s accepted who he is and his place in the universe. His mind is still active and seeks to learn more about the world around him but he isn’t especially eager to seek out the world in general. He wants a “dignified senility,” he tells Wilf and you can imagine nothing but for him. Courtenay is one of those actors who has appeared onscreen only periodically over the years but every time he does you find yourself wishing he would appear more often.

Maggie Smith, who received a Golden Globe nomination for her work here, delivers a haunting performance as a diva who is terrified of a future of anonymity and decay. “I used to be someone, you know” she says and it is perfectly clear how important that status was to her, to be someone. Her harsh exterior hides that insecurity that she’ll be forgotten in the end, a fate worse than death for someone like Jean. Smith, who last year performed in Best Exotic Marigold Hotel which some have (quite erroneously I think) compared this to, shows once again her extraordinary range as an actress. There are a lot of layers to the character and she nails them all, never hitting a single false note.

Veterans Gambon and Collins also deliver in their roles. Hoffman in a showing of finesse, fills much of the cast with actual retired British musicians and in a bit of a grace note during the end credits shows the mostly elderly cast with their stage credits along with pictures of them from their glory days. Hoffman shows some promise as a director if this acting thing doesn’t work out for him.

I found myself really liking this movie early on from the absolutely magnificent gardens and spaces in Beecham House and environs to the charm of the actors. While there were a few spots which seemed to be a bit on the too-sweet side, for the most part this is a really good movie that has to do with aging gracefully which I suppose anyone could do if they had a place like Beecham House to do it in – a place filled with music in all hours and in all corners. I could certainly retire happily to a place like that.

REASONS TO GO: Connolly is a gem. Courtenay, Smith and Collins are very much underrated who make the most out of every opportunity. Gambon is marvelous. Beautifully shot.

REASONS TO STAY: Can get treacly in places.

FAMILY VALUES:  There are a few bad words here and there and some mildly sexual suggestive dialogue.

TRIVIAL PURSUIT: This is the second movie of the same title that Maggie Smith has been in; the first Quartet came out in 1981 and is completely unrelated to this one.

CRITICAL MASS: As of 3/5/13: Rotten Tomatoes: 79% positive reviews. Metacritic: 64/100; solid reviews here.

COMPARISON SHOPPING: How About You?

FINAL RATING: 8.5/10

NEXT: Intermedio

Open Range


Kevin Costner and Robert Duvall are home on the range.

Kevin Costner and Robert Duvall are home on the range.

(2003) Western (Touchstone) Robert Duvall, Kevin Costner, Annette Benning, Michael Gambon, Michael Jeter, Diego Luna, James Russo, Abraham Benrubi, Dean McDermott, Kim Coates, Herb Kohler, Peter MacNeill, Cliff Saunders, Patricia Stutz. Directed by Kevin Costner

Kevin Costner returns to the American West, a setting which has seen his greatest triumph to date in Dances With Wolves. Like that Oscar-winning classic, Costner directs as well as stars and once again proves effective in both roles.

Charlie Waite (Costner) is a former gunslinger who earns his keep these days as a free-grazing cattleman, along with his partner, Boss Spearman (Duvall). They are grazing their cattle on what appears to be an uninhabited meadow near a town; one of their hands, an easy-going doofus named Mose (Benrubi) gets into a fight in town and eventually has to be brought back to the range by his employers. The cattle baron who runs the town, Denton (Gambon) can’t abide the thought of free grazers in his territory, and he orders his thugs to take them out, while the law turns a blind eye.

Mose is killed, and Button (Luna), a young man that the partners have essentially raised, is gravely wounded. Of course, Waite and Spearman can’t just let this go by, and they return to town, aided by a comely physician (Benning), to take justice as best they can.

This blends the best of modern Westerns, including the easygoing relationship between Waite and Spearman, which is straight out of Lonesome Dove (it’s no accident that Duvall starred in both), as well as the division between town and prairie, with the town representing corruption and violence as opposed to the freedom of the range. This is a theme that recurs in Clint Eastwood’s best movies, especially The Unforgiven and Pale Rider.

Costner is a better director than he is often given credit for; he has had his share of bombs (Waterworld, The Postman) but he knows when to show us a pretty picture and when to show us an ugly one. He juxtaposes the openness of the West with the confines of the town, and makes the hard, relentless life of a free grazer almost desirable. He is also appealing as the lead here, and that is what makes Open Range so good. Charlie Waite is a wounded soul, suffering from the demons of his own guilt seeking to forget his past in the vastness that was the West. Boss, his truest friend, is a rascal, yes, but a fair one. The two have a compelling chemistry.

Costner as an actor has an affinity for Westerns. He gets the rhythms and the flow of them. Now, he doesn’t necessarily sound like someone from the Old West in the sense that he uses the same style of speechifyin’ but I’m talking about Westerns. He has the laconic delivery of a Gary Cooper with the innate honesty of a John Wayne and the rugged chiseled good looks of a young Eastwood. Costner captures the essence of a Western hero and by extension, of American men in general. We all aspire to those values that made Westerns the king of movies during an era when arguably America was at its most prosperous. We also yearn for a simpler time when life was hard but our prospects were unlimited. The West meant freedom and a man could make a fresh start out there, get a second chance in some cases. It is the most American of aspirations.

The gunfights are often at the center of traditional Western, and there is a mighty good one here. You should be warned that the gun battle is extremely loud; those who are sensitive that way may want to think twice before seeing this in a state-of-the-art home theater with Dolby sound and all the bells and whistles. Otherwise, this is a sprawling, wide-open movie with a terrific human story at its heart, aided and abetted by some fine performances in the lead roles. Even those who are not particularly fond of Westerns, such as my spouse, Da Queen, will give this a rousing thumbs up as she did.

WHY RENT THIS: A throwback to classic Westerns. Costner is at his finest. A human story on an epic scale.

WHY RENT SOMETHING ELSE: Overly loud in places. Cliche in other places.

FAMILY MATTERS: Can be loud and violent.

TRIVIAL PURSUITS: Tig is not only the name of the dog in the movie but also the name of Costner’s production company. It’s taken from his grandmother’s nickname.

NOTABLE HOME VIDEO FEATURES: There’s a 12 minute documentary about the history of the open range and free-grazing as well as a music video. It should be noted that the making-of featurette is unusually candid, dealing with the problems the film had obtaining financing (Costner and producers Jake Eberts and David Valdes put up about half of the budget from their own money) which weighed heavily on Costner during filming when there were no distributors lined up. Near the end of production, Costner was also working through severe abdominal pain which turned out to be appendicitis.

BOX OFFICE PERFORMANCE: $68.3m on a $22M production budget; the movie was a hit.

COMPARISON SHOPPING: Lonesome Dove

FINAL RATING: 7.5/10

NEXT: Nice Guy Johnny

New Releases for the Week of January 25, 2013


Hansel and Gretel: Witch Hunters

HANSEL AND GRETEL: WITCH HUNTERS

(Paramount/MGM) Jeremy Renner, Gemma Arterton, Famke Janssen, Peter Stormare, Derek Mears, Thomas Mann, Rainer Bock, Thomas Scharff, Zoe Bell. Directed by Tommy Wirkola

Fifteen years after nearly being cooked alive at the hands of a naughty witch, brother and sister Hansel and Gretel have taken up the mantle of witch hunters, using ingenious weapons to battle the evil creatures. However, their success has made them a target and their past is about to catch up with them in a malevolent way. This is most certainly not your mom and dad’s fairy tale.

See the trailer and promos here.

For more on the movie this is the website.

Release formats: Standard, 3D, IMAX 3D

Genre: Fantasy Horror

Rating: R (for strong fantasy violence and gore, brief sexuality/nudity and language)

Holy Motors

(Indomina) Denis Lavant, Edith Scob, Eva Green, Kylie Minogue. A man steps into a limousine and heads out into Paris for a series of appointments. The man changes with each appointment from a captain of industry to a gypsy crone, to an assassin to the melancholy father of a teenage daughter. The movie changes to from drama to action film to science fiction to melodrama. Experimental French cinema at its finest.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Drama

Rating: NR

Movie 43

(Universal) Halle Berry, Gerard Butler, Richard Gere, Emma Stone. An ambitious ensemble piece from some of the most deliciously twisted minds in comedy, including the Farrelly Brothers, Steven Brill and…Brett Ratner. Okay, the last was sarcastic but there really are some talented guys here. Just ask them. But don’t ask them what happened to Movies 1 through 42, okay?

See the trailer and a promo here.

For more on the movie this is the website.

Release formats: Standard

Genre: Comedy

Rating: R (for strong pervasive crude and sexual content including dialogue, graphic nudity, language, some violence and drug use)

Parker

(FilmDistrict) Jason Statham, Jennifer Lopez, Michael Chiklis, Nick Nolte. Parker is one of the best thieves in the world. He can afford to live by a code of ethics that he sticks to no matter what. He’s not the sort of fellow you want to cross. So when a group of fellow thieves do just that, Parker aims to get his own sort of justice. Even if he has to use Jennifer Lopez to help him get it.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Crime Action

Rating: R (for strong violence throughout)

Quartet

(Weinstein) Maggie Smith, Billy Connolly, Michael Gambon, Tom Courtenay. At a retirement home for opera singers, an annual concert commemorating Verdi’s birthday has been a major source for fundraising, which this year is particularly crucial because the home is in hot financial water. When a diva joins the home and refuses to sing in the concert even though her presence might mean the difference between the home surviving and all its residents being thrown out into the street, an uproar ensues. This is Dustin Hoffman’s directorial debut, by the way.

See the trailer and a featurette here.

For more on the movie this is the website.

Release formats: Standard

Genre: Comedy

Rating: PG-13 (for brief strong language and suggestive humor)

Race 2

(UTV) Saif Ali Khan, Anil Kapoor, John Abraham, Deepika Padukone. After his partner and lover dies in a car bomb explosion, Ranveer vows to bring her killer to justice. To do that he’ll have to navigate through the criminal underworld of India and through the corrupt corridors of power where betrayal is always an option.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Bollywood

Rating: NR

The Insider


The Insider

The young tiger and the old lion.

(1999) True Life Drama (Touchstone) Russell Crowe, Al Pacino, Christopher Plummer, Diana Venora, Philip Baker Hall, Lindsay Crouse, Debi Mazar, Stephen Tobolowski, Colm Feore, Bruce McGill, Gina Gershon, Michael Gambon, Rip Torn, Lynne Thigpen. Directed by Michael Mann

 

On one level, this movie could be taken as the story of Dr. Jeffrey Wigand, the corporate whistleblower who braved much external pressure, death threats, the dissolution of his family and the pangs of his own conscience to step forward and point the finger at Big Tobacco, making several lawsuits against them possible.

On another level, this movie could be taken as the story of Lowell Bergman, the courageous producer who brought Wigand’s story to “60 Minutes,” and how he fought to air the story. However, what The Insider is really about is how big corporations whether Big Tobacco or Big Media run our lives in an insidious fashion. They determine what we see on the news, decide what we are allowed to say or not say. It illustrates, in a very subtle manner, how Orwellian our country really has become, and right under our very noses.

Russell Crowe stars in an Oscar-nominated performance as Wigand, a high-ranking scientist and corporate executive at a major tobacco company whose conscience and temper have recently gotten him fired. He has a daughter with a severe asthmatic condition, so medical benefits are paramount to him. His former employer is willing to keep those benefits in place as long as Wigand signs a confidentiality agreement, which Wigand does on two separate occasions (they choose to broaden the scope of the agreement early on in the film).

Bergman (Pacino) is referred to Wigand by a colleague to help him understand some scientific data. Eventually, it becomes clear that Wigand wants to talk and Bergman, realizing the enormity of what he has to say and the evidence in his possession, coaxes him along. Eventually, Wigand testifies in court and does an interview with Mike Wallace (Plummer) on the venerable primetime news program.

Except that CBS corporate doesn’t want to air the story. Nervous about possible litigation running into the billions of dollars at a time when the network is on the auction block, they effectively kill the story with the blessings of 60 Minutes producer Don Hewett (Hall) and Wallace.

It is watching the machinations behind the scenes that is almost as fascinating as Wigand’s own story, which could have made a movie riveting by itself. The tension that Wigand lives through here is palpable, and when you try to put yourself in his shoes, you only marvel at the man’s tenacity. Together, the two stories make for an extremely watchable movie. 

There is some acting here, from Crowe who began a run of incredible performances which would net him an Oscar (although not for this movie) to Pacino who was at his best here. Plummer channeled the late Mike Wallace nicely, even if it wasn’t a very flattering portrait always. Mann doesn’t always get enough credit for it but he seems to have a knack for pulling out superior performances from his actors in nearly all of his movies, going back to his days on the “Miami Vice” television show.

Well after this movie came out we saw just how devastating the lack of corporate conscience is to the economic health of this country, so in many ways this movie was prescient. When short-term greed for bottom line profits overrides common sense and dignity, the results are very much in evidence. Corporate greed is not the sole province of the financial industry; obviously it is prevalent throughout big business, and this was a movie that not only saw that but blew the whistle on it earlier than most. In that sense, it is a chilling precursor to what was to come and a grim warning to what can still occur if we don’t act. The Insider is a jolting reminder that all of us are touched in some way by the corporate culture of profit obsession that has lingered from the days of the robber barons and still is the defining aspect of American big business.

WHY RENT THIS: Tremendous, Oscar-caliber performances. Subject that is as relevant now as it was then.

WHY RENT SOMETHING ELSE: Slow in places.

FAMILY MATTERS: The language can get a bit harsh in places.

NOTABLE HOME VIDEO FEATURES: There’s a feature called “Inside a Scene” which allows the viewer to read the director’s notes and script for a scene before viewing how the scene played out. It’s a fascinating concept but isn’t available for a lot of scenes here.

BOX OFFICE PERFORMANCE: $60.3M on a $90M production budget; the movie lost money in its theatrical run.

COMPARISON SHOPPING: The Whistleblower

FINAL RATING: 8/10

NEXT: Battleship

Harry Potter and the Deathly Hallows Part 2


Harry Potter and the Deathly Hallows Part 2

There's a Blue Light special in Bellatrix Le Strange's vault.

(2011) Fantasy (Warner Brothers) Daniel Radcliffe, Emma Watson, Rupert Grint, Ralph Fiennes, Helena Bonham Carter, Alan Rickman, David Thewlis, Tom Fenton, Matthew Lewis, Michael Gambon, Warwick Davis, Evanna Lynch, Jason Isaacs, Maggie Smith, Bonnie Wright, Ciaran Hinds, John Hurt, Julie Walters, George Harris, Kelly Macdonald, Helen McCrory . Directed by David Yates

All good things must come to an end, and in every sense, the Harry Potter film franchise has been a good thing. It has brought untold joy to millions of viewers, not to mention untold billions to the coffers of Warner Brothers. Will the series go out with a whimper or a bang?

After the events of the first part of the finale (think of it as Act I), Harry Potter (Radcliffe), Hermione Granger (Watson) and Ron Weasley (Grint) are on the run from Lord Voldemort’s (Fiennes) Death Eaters who have essentially taken over the Wizarding World. Harry needs to find the Sword of Godric Gryffindor in the bank vault at Gringott’s belonging to Bellatrix Le Strange (Carter). To do so, they will need the help of the captured Griphook the Goblin (Davis) and for Hermione to use polyjuice potion to impersonate Le Strange. If you aren’t into Harry Potter, you probably didn’t understand a word of that last paragraph bbz.

The plan is bold and might have worked but as is par for the course for the trio (“When have we ever made a plan that actually worked?” ponders Harry early on) they barely escape with their lives and without the Sword. However they do get a clue that one of the Horcruxes that contains the soul of Voldemort resides in Hogwarts itself, so off they go to their old school which has become more of a gulag overseen by Severus Snape (Rickman), the man who killed Albus Dumbledore (Gambon). Dumbledore’s brother Abeforth (Hinds), a bitter man who lives in the shadow of his late sibling, helps Harry and his friends elude the Death Eaters and dementors that patrol the skies above Hogwarts and slip him in through a secret passageway, assisted by their old friend Neville Longbottom (Lewis).

With the help of a secret underground at Hogwarts and the surviving members of the Order of the Phoenix, Harry retakes Hogwarts and sets about retrieving the Diadem of Rowena Ravenclaw (one of the founders of Hogwarts) and eventually winds up facing down Draco Malfoy (Fenton), his old nemesis and winds up saving him from certain death.

Realizing that Harry is at Hogwarts, Voldemort and his Death Eaters engage in a pitched battle at the old school in preparation for Harry’s final confrontation with Voldemort. Only one of them will walk away and many friends old and new will not survive.

The fact that the movie had the biggest opening weekend box office in motion picture history isn’t really an indication of whether or not this movie is worth seeing, but it certainly is a clear marker of the anticipation surrounding its release. As much as Part I was somewhat unsatisfying (which given the circumstances was inevitable), this is completely satisfying and a fitting end to the franchise.

Radcliffe gets to show Harry as the hero he was always meant to be. He has a scene in the forest near the end of the movie in which he faces his own mortality that is absolutely heartbreaking, one that I will remember for a long time. It’s not just a great scene in a summer blockbuster; it’s a great scene in any movie period. Oscar winning performances have been based on less.

Sure, there are times when you might feel lost or left out if you haven’t seen the first seven movies of the series. Sure the 3D is unnecessary and makes a dark picture darker, but it at least doesn’t ruin the movie, which a bad conversion can do.

Simply put, this is the movie that I may wind up remembering with the most affection in a summer full of underwhelming movies for the most part. There is spectacle, but there is also human pathos. It is on an epic scale, but also very much intimate character studies. There is something for everyone here and even for those who are ambivalent about Harry Potter and fantasy in general, this is worth your while to spend your hard-earned cash at the multiplex.

REASONS TO GO: An appropriate and fitting end to a great franchise. Epic in scope and personal in nature, you will laugh, cry and ooh and ahh – everything a movie should be.

REASONS TO STAY: You don’t like Harry Potter, fantasy or good movies.

FAMILY VALUES: There are a few frightening images and some fantasy action. Some of the more wrenching scenes might be difficult for younger kids to handle.

TRIVIAL PURSUIT: During the course of the movie Hermione impersonates Mafalda Hopkirk (portrayed by Sophie Thompson, the sister of Emma Thompson – who plays Professor Trelawney) and Bellatrix Le Strange (portrayed by Helena Bonham Carter who played Emma’s sister in Howard’s End).

HOME OR THEATER: It may be a bit of a cliché but it is true in this case – if you see only one movie in a theater this summer, this is the one to go see.

FINAL RATING: 9/10

TOMORROW: Zombie Strippers

The King’s Speech


The King's Speech

It's not always great to be the king.

(2010) Historical Drama (Weinstein) Colin Firth, Geoffrey Rush, Helena Bonham Carter, Guy Pearce, Michael Gambon, Jennifer Ehle, Derek Jacobi, Claire Bloom, Timothy Spall, Eve West, Roger Parrott, Anthony Andrews, Patrick Ryecart. Directed by Tom Hooper

Uneasy lies the head where rests the crown. So said Shakespeare, and so it is in reality. Even those close to the crown may rest uneasy.

It is 1925 at Wembley Stadium and the British Empire is at its zenith. Fully one quarter of the world’s population lives within its borders and King George V (Gambon) rules it serenely. Radio has become a fact of life, and even the monarchy must learn to adjust to it. At the closing ceremonies of the Empire Exhibition, Prince Albert (Firth), second in line to the throne, must give a speech that will be broadcast on the BBC. Unfortunately, Albert is a terrible stammerer and any sort of public speaking is the equivalent for him of undergoing the tender mercies of The Rack. Even though his sensible and supportive wife Elizabeth (Carter) is there for moral support, the speech goes horribly.

Years go by and Elizabeth and Albert try to get some sort of speech therapy, anything to cure his condition. The cures range from marbles in the mouth, Demosthenes-style to excessive smoking which is said to relax the muscles in the throat.

Nothing works. Albert’s father realizes that his younger son is a good man who would make a better king than his older brother David (Pearce) who is “carrying on” with a twice-divorced married American woman named Wallis Simpson (West). He seems a decent enough sort but he has little backbone and with Hitler making all sorts of noise in Europe, a strong King is needed.

But England is going to get something different. King George passes away, leaving David in charge, under the name of Edward VIII. However, he is unwilling to give up on Mrs. Simpson, who now has the King of England pouring her drinks for her.

Realizing that there was a more than decent chance that he may have to give more public speeches than at first was thought, Elizabeth finds an Australian named Lionel Logue (Rush), a failed actor who comes highly recommended. His methods are indeed unorthodox, as they involve getting to know his clients personally. That involves calling the Prince by his nickname Bertie, which is mortifying at first.

Soon, the prince learns little by little to trust his new elocutionist. Grudgingly, slowly, he begins to open up to the Aussie. As he does, his stammer begins to disappear, although not completely. There is some hope that he may yet be able to fulfill his public functions more gracefully.

The Edward and Mrs. Simpson scandal at last comes to a head and Edward abdicates, leaving the throne of England for the now thrice-divorced American. Now Albert is king, George VI and the monarch of the United Kingdom, a country on the brink of war, a war in which he must lead with a voice both authoritative and regal. It will be up to Lionel to provide him with that voice.

First, this is one of the best movies of the year, so let’s get that right out of the way. What makes it so good starts off with the casting. Every role has the right person in it, from Spall as the Bulldog-like Churchill to Bloom as the dowager Queen Mary. Everyone assumes their role perfectly, not performing so much as they are inhabiting.

Before I get to the top-billed players, I wanted to mention a few other performances. Derek Jacobi does a fine job (as always) as the Archbishop of Canterbury, playing him as both manipulative and somewhat stymied by the stammering King whom he underestimates. Jennifer Ehle, as Logue’s long-suffering wife, has some excellent scenes with Helena Bonham Carter; it turns out that she is a fine comic actress as well as a dramatic one, even if her fansite chided me for not listing her in the fall preview. I stand corrected, my friends.

Helena Bonham Carter has been getting some notice for her portrayal of Bellatrix LeStrange in the Harry Potter movies, a deliciously evil role that Carter has sunk her teeth into; however, here she plays a much less flamboyant role and carries it off very nicely. It’s not acting that gets noticed as much as it perhaps should be, but it adds a certain flavor to the overall dish. Guy Pearce is one of those actors who seems incapable of a bad performance, and when he’s in a good movie given a well-defined role, he gives performances that are as good as anyone, and better than most. He may well join Rush in a Best Supporting Actor nomination in February.

The relationship between Bertie and Lionel is the heart of the movie and Hooper did well to cast two of the best actors working in them in Firth and Rush. Rather than vying for their screen time, they complement each other nicely and this works best for the movie overall.

Each performance is different and special. Firth imbues the King with courage and dignity, something that we common folk don’t usually regard the royal class as having. He becomes instantly relatable, overcoming his own personal difficulty and in doing so, becoming greater than the sum of his parts. Firth’s performance captures the frustration the man felt over his impediment, the fear he felt at taking on an enormous responsibility, one that was never intended for him and the genuine caring he felt for his subjects and his family. His interaction with his daughters Elizabeth and Margaret, the former being the present Queen of England, is part of the movie’s basic charm.

This is a movie in which class distinctions become blurred as the King learns to trust his subject and the commoner learns that the King is just a man. They find common ground and become friends, a friendship which apparently lasted for the rest of their lives. Some have criticized it for being too much of a feel-good movie, but what’s wrong with feeling good, especially in these times?  

At the end of the day, we all must find our voice in one fashion or another and watching King George VI find his is fascinating viewing. The marvelous performances of Firth, Rush, Pearce and Carter are certain to be accorded Oscar consideration, as Hooper, writer David Seidler and the motion picture itself will be as well. For my personal awards show, The King’s Speech is hands down this year’s Best Picture and Firth it’s Best Actor. They can thank the Academy of Me later.

REASONS TO GO: One of the best movies of the year. Colin Firth gives another Oscar-worthy performance while nearly his entire supporting cast does the same.

REASONS TO STAY: Those who aren’t big on British period dramas should probably give this a wide berth.

FAMILY VALUES: The King utters a few naughty words. There is also a good deal of smoking which apparently relaxes the diaphragm.

TRIVIAL PURSUIT: The studio appealed its “R” rating which was given it due to the repeated use of the f bomb which the studio contended was used for speech therapy purposes; unfortunately, the MPAA turned down the appeal.

HOME OR THEATER: Although this is essentially set in enclosed places for the most part, I do recommend seeing this as one of the best movies of the year, although it will probably work just as well at home.

FINAL RATING: 10/10

TOMORROW: Astro Boy

Harry Potter and the Deathly Hallows Part One


Harry Potter and the Deathly Hallows Part One

Harry and Hermione share a rare tender moment in a dark and dismal place.

(2010) Fantasy (Warner Brothers) Daniel Radcliffe, Emma Watson, Rupert Grint, Ralph Fiennes, Robbie Coltrane, Tom Felton, Jason Isaacs, Helena Bonham Carter, Bill Nighy, Rhys Ifans, David Thewlis, Brendan Gleeson, Michael Gambon, Imelda Staunton, Alan Rickman . Directed by David Yates

As someone who’s been with the Harry Potter series from the beginning, I had always thought it a young adult fantasy series but I was wrong. This has always been a series for adults; we just didn’t know it at the time.

After the events of Harry Potter and the Half-Blood Prince, Harry (Radcliffe), Hermione (Watson) and Ron (Grint) are on the run. No longer is Hogwarts a safe place – in fact, it only puts in a cursory appearance in the movie. Instead, the three are on the run, chased by Deatheaters who are looking for Harry specifically.

Lord Voldemort (Fiennes) and his cohorts, including Lucius Malfoy (Isaacs), his son Draco (Felton) and cousin Bellatrix Lestrange (Carter) have taken over the Ministry of Magic as well as Hogwarts itself and have launched a campaign to stamp out Muggles, using propaganda and fear. The overall impression is of a totalitarian Nazi-like state with Voldemort a Hitler-like figure at the top.

Harry is seeking the horcruxes, special items in which Voldemort has placed parts of his soul. Harry has found several of them but there still remain several to go. The stress and weariness are getting to Ron, who notices that Harry and Hermione are getting close. Into this mix comes the Deathly Hallows, but what exactly are they and how are they the key to victory over Voldemort?

This is movie is dark, dark, dark. If Half-Blood Prince was dark, this is pitch-black. This is serial killer-dark. This is your mom is dead-dark. You get the picture. In fact, the mood is so unrelenting in its grimness that you actually feel it weighing on your soul as you exit the theater.

I have tried to avoid reading the books before I see the movies so I can’t really say how closely this follows the book, which the studio has ultimately decided to split into two movies ostensibly at author J.K. Rowling’s request but, I suspect, also as a way of wringing out twice the revenue from the same book which will be the final installment in the series. Along the way it has become the most successful film series of all time on a per-film basis (the Bond series has brought more money in overall but has had 22 films to do it in) and more or less a license for Warner Brothers to print money. It’s not hard to see why they’re disappointed that the cash cow is coming to a close.

Part of my issue with the movie is that there is just so much information being crammed into it, and so many characters – nearly everyone from the first six books who haven’t died either in the series or in real life is here. It’s very difficult to keep everybody straight and by the time the two and a half hour movie comes to a close, you feel a very real sense of overload.

And yet there is much going for the movie. Radcliffe, Watson and Grint have become fine actors and have essentially grown up with their roles. Harry is showing the heroism that his character has always threatened to be, while Hermione is not only a charming and beautiful young woman but brilliant and resourceful as well, every bit Harry’s equal. Ron is the most human of the three, filled with doubts and flaws, but yet in his own way more courageous than either of them. The three make a formidable team, three terrific friends who are stronger together than they are separately.

The special effects are jaw-dropping at times, particularly an early broomstick and motorcycle sidecar battle, as well as a wonderful animation that introduces the Deathly Hallows into the film (the animator Ben Hibon has recently been rewarded with a feature film of his own). While a dark and terrifying place, the wizarding world is no less dazzling than it has been all along.

One gets the impression that the second film of the two Deathly Hallows movies will be much better in the sense that the resolution that is approaching like a bullet train is going to be something special. Much of that has to do with Rowling, who may sometimes not get her due simply because the books appeal to children. She is simply put one of the best writers of our age, regardless of genre or audience.

This is still a movie worth seeing – it is in many ways the weakest movie in the series simply because it feels so incomplete and yet it is the equal of all of them, but that is a function of the split. It is a movie of putting aside childish things and stepping into a frightening world. It is a movie of accepting responsibility and standing up for what is good and what is right. It is a movie that while on the surface may seem to be about running away and hiding is in reality about acting in the face of overwhelming odds and terrible penalties. Bad things happen to good people in this series – not everyone comes out of the movie alive and many come out badly injured at least. It is a movie about conquering fear, and what better lesson can we give to young people than that?

REASONS TO GO: Simply put, this is marvelous to look at and all the threads of the first six movies are beginning to draw together into a recognizable tapestry.

REASONS TO STAY: Dark, dark, dark – this is not your older brother’s Harry Potter. There is a good deal of information crammed into this movie which will probably all be necessary for the second but it sure does slow the pacing down quite a bit.

FAMILY VALUES: This is dark, dark, dark – the wee ones are going to be plenty scared by the violence, both on-screen and implied. The evil of Voldemort and his Deatheaters becomes much more realized and I would have a serious talk with any younger kid before seeing it to make sure they understand it’s just a movie. If they are prone to nightmares or particularly sensitive, I’d really think twice about taking my kids to see it.

TRIVIAL PURSUIT: After escaping the attack at the wedding, Harry, Hermione and Ron end up in a London diner, where one of the posters on the wall is for the West End production of “Equus” which star Daniel Radcliffe starred in.

HOME OR THEATER: You will see this on the big screen, if you haven’t already.

FINAL RATING: 6.5/10

TOMORROW: The Last Legion

The Book of Eli


The Book of Eli

Tell them Eli's coming and Heaven's coming with him.

(Warner Brothers) Denzel Washington, Gary Oldman, Mila Kunis, Ray Stevenson, Jennifer Beals, Michael Gambon, Frances de la Tour, Malcolm McDowell, Tom Waits, Evan Jones, Joe Pingue, Chris Browning, Lora Martinez-Cunningham. Directed by the Hughes Brothers

There are those who say that faith and religion are to blame for all the world’s troubles. There are also those who say that the world would be a savage place without them.

The world as we know it has come to an end. War has ripped a hole in the ozone, allowing the sun’s radiation to cook the Earth. It is the apocalypse, and as we all know from watching films set in the post-Apocalyptic era, the Earth turns into the Old West.

Down the dusty pock-marked roads that are all that is left of the Interstates comes a walker, a middle-aged man – something that is rare in this world where both the good and the bad die young – carrying a satchel and armed to the teeth, as would be prudent in a time where law and civilization have broken down. Darwin’s law has become the only law that is enforced.

The man is Eli (Washington) and he carries with him something very valuable. Not just the trinkets he’s been able to pick up, mostly from corpses and the already-stripped houses that remain standing, but something worth dying for…maybe even worth killing for. It is the King James Bible, and it may be the last one left. After the war had decimated the planet, many of those who remained on it blamed religion for the war and Bible-burning became the new national pastime.

Eli is a man to be reckoned with, lightning quick and merciless with knives, as a group of scavenging hijackers who mean to rob him and eat him find out. He is also merciful and compassionate with the weak, as the woman (Martinez-Cunningham) who was used as bait also discovers.

Eli comes to a small town which looks uncannily like Tombstone, Arizona, mostly to get supplies and to recharge a battery charger. While he’s waiting for the Engineer (Waits) who runs the general store to charge the battery, he goes across the street to the Orpheum bar to fill his canteen. Some rough and tumble sorts led by Martz (Jones) try to mess with him and wind up writhing on the floor or dead. The leader of the town, Carnegie (Oldman) is impressed and is anxious for Eli to join his group of enforcers. Eli is unwilling; he has business to the West to which Carnegie responds “There’s nothing west of here.” Carnegie isn’t the sort to take no for an answer so he has Eli sleep on it, whether he wants to or not.

Carnegie sends his girlfriend in, blind Claudia (Beals) with food and drink. He then sends in Claudia’s daughter Solara (Kunis) to tempt him with baser charms. Eli turns her down but she begs him to allow her to stay the night and give Carnegie the illusion that she had done as he asked; if he does not, she tells him, her mother will pay the price for her failure. Eli relents and allows her to stay.

The next morning Solara inadvertently lets slip that Eli is carrying with him a book. Carnegie goes ballistic – this is the very book he has been sending bands of illiterate marauders out to retrieve. With it he can control the remaining populace and act as a kind of post-Apocalyptic messiah. He has to have this book! He and his right hand man Redridge (Stevenson) go running into Eli’s cell, only to find him gone. He hasn’t gone far and after a brutal gun battle in which Carnegie gets hit in the leg, Eli escapes with Solara chasing after him, eager to get away from her existence in the town.

The enraged Carnegie takes nearly all his enforcers in what vehicles remain and head out after him. Eli believes he is on a divine mission to take the Bible to safety, but with such a man on his tail can Eli reach safety even with heavenly assistance?

While much about the movie is basic Post-Apocalypse 101 from the Old West-style towns, the rusting cars abandoned on highways that have collapsed, the desert-like environment to the abundance of trenchcoats and shotguns, the concept is unique. It is not your usual action-adventure type of film that is usual for this genre (although there is plenty of both); it is also meant to be an examination of faith and belief.

Kudos for screenwriter Gary Whitta and the Hughes Brothers for trying something a little daring. It is not an easy sale sometimes for secular Hollywood to take on themes of morality and faith, but they do so here. I’m sure the presence of Denzel Washington in the project had more than a little to do with the studio taking a chance on it.

Washington is perhaps the most movie star-like actor out there today. He has the kind of screen presence and charisma that gives him appeal not only to African-American audiences who revere him, but also to white audiences who respect him, female audiences who adore him and male audiences who want to be like him. He carries films in the same way that Clint Eastwood once did. In fact, this is the most Eastwood-like of Washington’s performances ever, as he plays essentially a man with no name and of few words who comes into a town, kicks ass and fights injustice. It’s the kind of role few have tackled since Eastwood hung up his gunbelt.

Kunis has been getting a lot of high-profile roles lately, and she has a great deal of potential, but in many ways this was the wrong part for her. She seems far more adept at light comedies and romantic roles than in action movies. However, I was pleased to see Jennifer Beals do so well in this movie; after Flashdance she never really regained the kind of attention that movie brought her, but she is a talented performer as she shows undeniably here. Ray Stevenson, who was last seen playing the comic book character the Punisher is also very strong as Carnegie’s lackey.

Gary Oldman plays villains with a great deal of panache and you get the feeling that he has more fun with them than he does with characters like Sirius Black from the Harry Potter movies. He is certainly playing a demagogue – when we first meet Carnegie he’s reading a biography of Mussolini – but he’s not completely unsympathetic.

I have to mention that there is a bit of a twist ending here, one I didn’t see coming which is somewhat unusual these days, and it elevates the movie in my opinion. However, it also must be said that because the filmmakers are showing a world in which the sunlight is much brighter, the whole movie has a washed out, colorless look that is at times distracting. I know it’s probably a realistic look and I understand what the filmmakers were going for, but just the same it did wear a little bit on me personally. Just sayin’.

I’m not going to say this is a pleasant little film because there’s a good deal of brutality in it, but I found it to be a pleasant surprise. It was much better than most of the critics I’ve read and heard from made it out to be. Denzel is a fine actor and an engaging screen presence and while I hesitate to say he can do no wrong, he has for sure not done wrong here.

REASONS TO GO: A very nice twist at the end. Washington does his best Clint Eastwood and is surprisingly good at it. Oldman is always an engaging actor.

REASONS TO STAY: The film has a bit of a washed-out feeling that lacks color, which I found to be a bit distracting after awhile. Once you’ve seen one post-apocalyptic landscape, you’ve seen them all.

FAMILY VALUES: There’s a great deal of brutality and some rough language. There’s also a suggestion of rape. Definitely not for the squeamish.

TRIVIAL PURSUIT: On the wall of the room in which Eli is kept prisoner at the Orpheum is a poster for A Boy and His Dog, another post-apocalyptic movie.

HOME OR THEATER: It’s a bit washed-out from a cinematography standpoint, so a smaller screen might lose some detail. See it in a theater just to be on the safe side.

FINAL RATING: 6/10

TOMORROW: The Darwin Awards

Harry Potter and the Half-Blood Prince


Harry Potter and the Half-Blood Prince

Harry Potter: Ultimate Emo Boy!

(Warner Brothers) Daniel Radcliffe, Emma Watson, Rupert Grint, Michael Gambon, Jim Broadbent, Alan Rickman, Helena Bonham Carter, Maggie Smith, Tom Felton, Robbie Coltrane, Julie Walters, Timothy Spall, Ralph Fiennes, David Thewlis. Directed by David Yates

Being a teenager is hard enough without additional burdens. There’s the rampaging flood of hormones that makes a life-or-death situation of any emotional trauma. There’s the constant war between childish comforts and the call of growing up. Throw on top of that the responsibility of being The Chosen One and well, it sucks to be Harry Potter.

After the fallout of the events of Harry Potter and the Order of the Phoenix, Harry (Radcliffe) has become a bit of a celebrity. The tabloids have gone so far as to wonder out loud if he isn’t The Chosen One, the wizard meant to end the threat of Valdemort (Fiennes) once and for all. For Valdemort’s part, his Deatheaters are no longer acting covertly but openly causing damage in both the Wizarding and Muggle worlds.

Dumbledore (Gambon) is increasingly spending time with Harry, preparing him for the battle to come. He takes young Harry on a mission to find Horace Slughorn (Broadbent), a bon vivant and former Potions teacher at Hogwarts. The idea is not just to offer him a job, but to bring him close to Dumbledore. Slughorn has a memory of young Tom Riddle (Frank Dillane) that may prove to be crucial in defeating the Dark Lord once and for all, but it is a memory that Slughorn is reluctant to pass on; you see, the contents of that memory may also ruin Slughorn forever.

In the meantime, Harry and his friends Hermione (Watson) and Ron (Grint) are struggling with the adolescent hormones big time. Ron is the target of Lavender Brown (Jessie Cave), while Hermione has her eye on Dean Thomas (Alfie Enoch) and Harry himself has come under the scrutiny of Ron’s sister Ginny (Bonnie Wright). Things can be very tangled up at that age.

In the meantime, the Dark Lord has an infiltrator at Hogwarts – Draco Malfoy (Felton). He is being protected by Professor Snape (Rickman), the former Deatheater who has been pressed into service by Draco’s mother Narcissa (Helen McCrory) and the evil Bellatrix Lestrange (Bonham Carter). What Malfoy’s mission is – and what he is doing with the cabinet in the Room of Requirement – is also central to Harry’s fate and the fate of the Wizarding world.

This is a much darker Potter than any of the other films in the franchise, and you definitely get a sense that the confrontation that has been building since the first movie is almost upon us. While the Wizarding world intrudes on our own world much more in this movie (London’s famed Millennium Bridge is destroyed in a fit of spite by the Deatheaters), the movie is Hogwarts-centric. However, you get less of a sense of it as a school as much as you do of the place of it. Harry is not attending classes so much as brooding in the hallways. We see much more of the social interactions between the students than we do instructions in the art of magic, and that’s a good thing.

Radcliffe, Watson and Grint have turned out to be solid, first-class actors who hold their own with world class talents like Rickman and Smith. Wright has also turned out nicely, making the romance between Ginny and Harry one of the sweetest things in the movie and nicely authentic. Watching Ron and Hermione turn towards each other is much more like watching your sister kiss your brother.

The effects are magnificent and the story is compelling. So why didn’t I like this movie more? Much of the middle part of the movie seems directly aimed at pleasing the legions of Potter obsessives who demand that the books be faithfully followed to a literal “T”. Characters literally make cameo appearances – Wormtail (Spall) appears merely to open a door without saying a word, then disappear from the film entirely. That kind of thing proves to be distracting.

The craft that went into the making of this movie is extraordinary. Kudos must go to the special effects and art direction crews; this is a world that is well-lived in and fleshed out and much of the credit must go to J.K. Rowling. She has created a world so detailed in her books that the movie crews have a great template to work with. The sequence in the underground cavern in which Dumbledore displays some of the powerful magic he is capable of is extremely well-done, edge-of-your-seat kind of stuff, spectacle at its finest.

This is a solidly made movie that while not up to the standards of Peter Jackson’s Lord of the Rings trilogy, is still certainly worth seeing. I suspect that you will probably like it more than I did – for some reason, it didn’t draw me in the way other Potter movies have. Perhaps it is the dark, foreboding tone of the movie that makes the Wizarding world much less attractive to be in, unlike the first movies when it was a delightful place.

If there is light, then there must also be its absence as well, and Harry Potter and the Half-Blood Prince peers into that aspect firmly. This is not meant to be a movie for small children, but a movie for putting aside childish things. Harry Potter is growing up, and perhaps I’m not ready for that but as with all children, they grow up whether we want them to or not.

REASONS TO GO: Spectacular special effects sequences and art direction make this a feast for the eyes. Well-acted and the romance between Ginny and Harry is extremely sweet and believable. Michael Gambon does some of his finest work of his career.

REASONS TO STAY: The tone is exceedingly dark and foreboding. There is a lot of unnecessary business that while pandering to the Potter extremists, proves to be distracting to the rest of us.

FAMILY VALUES: There are many frightening images and incidents that may be too intense for smaller children.

TRIVIAL PURSUIT: Author J.K. Rowling makes a cameo appearance as the subject on the cover of a gardening magazine that Dumbledore picks up in Slughorn’s flat.

NOTABLE DVD FEATURES: The documentary J.K. Rowling: A Year in the Life (which aired on U.S. cable) depicts the last year of the writing of the final book in the Harry Potter series during which the author revisits her past; there is also a series of “One Minute Drills” in which the cast are given sixty seconds to describe their character’s history, personality and other personal details  before time runs out. Finally, there is a sneak peak of the “Wizarding World of Harry Potter” at Universal Studios’ Islands of Adventure theme park opening in the Spring of 2010 in Orlando, Florida.

FINAL RATING: 7/10

TOMORROW: Armored