TheHarry Potterfranchise is a global phenomenon like few others. It’s been 17 years since the last book was released, and 13 years since the last movie hit theaters, and yet the IP is as strong as it ever was. Harry Potter is ubiquitous in the form ofelaborate theme parks,video games, and, of course, highly re-readable novels. AlthoughauthorJ.K. Rowling’s anti-trans stancehas affected her profits, it seems like the franchise is still beloved by those who can separate the artist from the art. But Harry Potter doesn’t begin and end with the books. As with anything that’s popular nowadays, Hollywood came calling rather quickly, and thefirst Harry Potter film was released a little over a year after the fourth book hit the shelves.
But in another minor miracle, the Harry Potter film franchise was able to maintain a level of quality rarely found in film series that stretch on past one or two movies, let alone eight. TheHarry Potter movies visualized what book readers had long fantasized about in their heads. They were able to evolve and grow just as the novels did,with four different directors bringing a variety of flavorsto the series from film to film without sacrificing character, story, or continuity. It’s a magnificent accomplishment made all the more impressive by the fact that there’s not an outright bad movie in the bunch. It’s hard to go through the holiday season or skim through the channels on TV without stumbling upon one Harry Potter marathon or another.
A brief note before we begin, though: For the purposes of this feature, I’mevaluating each Harry Potter movie as a film first and foremost, not necessarily how it stacks up against its respective novel –what was left out, what was added, etc. With that said, let’s get started…
8Harry Potter and the Chamber of Secrets (2002)
Directed by Chris Columbus
At 161 minutes,Chamber of Secretsis the longest film of the Harry Potter franchise, and perhaps not-so-coincidentally, it’s also the last film to try and fit (almost) everything from the book into the movie.DirectorChris Columbusexpands on the world he built so beautifully in the first film with a slightly darker and much more plot-heavy sequel, and while the film isn’t bad per se, it’s definitely the most laborious of the bunch.
Though it’s certainly too long and meanders in places, there’s still a lot to like aboutChamber of Secrets. Columbus nails the realization of Dobby the house-elf (voiced byToby Jones), toeing the fine line between mischievously funny and irritating to deliver a visually impressive and genuinely adorable CG character.Columbus also does a fine jobat further defining the Wizarding World with issues like the pure-blood cause and Hogwarts’ dark past. But whileChamber of Secretsis enjoyable enough (just beinginthe world of Harry Potter goes a long way), itdoesn’t quite live up to the brilliance of the rest of the franchise.
Harry Potter and the Chamber of Secrets
7Harry Potter and the Deathly Hallows–Part 1 (2010)
Directed by David Yates
It’s tough to judge a film that is self-admittedly half a story, but since it’s presented as a separate entry in the Harry Potter series,Deathly Hallows – Part 1must be evaluated as such. Book readers had their issues with the walkabout nature of the first half of the final book, so many were bracing for a somewhat sluggish film adaptation of those initial chapters. And whileDeathly Hallows – Part 1is mightily compellingfor the first hour or so (seeing these characters out and about in the muggle world is a nice change of pace), it definitely loses steam in its second half. This is due in part to the fact thatHarry (Daniel Radcliffe), Ron (Rupert Grint), and Hermione (Emma Watson) are on a directionless hunt, disapparating from one gorgeous locale to the next as they bicker among themselves. This character conflict is necessary to set up the emotional payoff ofDeathly Hallows – Part 2, but the act of watching a film that is almost all setup gets a bit monotonous.
And perhapsDeathly Hallows – Part 1’s biggest issue is just that there’s alotof setup for the finale without much room for payoff. It’s a necessity, and directorDavid Yatesand screenwriterSteve Kloveshandle it about as well as they can, but in one film they have to lay the foundation for all the wand business, move Ron and Hermione towards a point where they can express their romantic feelings for one another, introduceDumbledore’s (Michael Gambon) secretive backstory, explain the Deathly Hallows, and solidify the raised stakes leading up to the Battle of Hogwarts — all without wrapping up a single one of these threads. The film works beautifully as part of a whole, but as a standalone film, it leaves plenty to be desired. That’s not to sayPart 1doesn’t have merit, however. There are even flashes of brilliance, from the strikingly haunting animated Deathly Hallows sequence toHarry and Hermione’s dance, which offers reprieve from the grave seriousness that surrounds them. The sequence further reminds the audience that these arekids– kids who have the weight of the world on their shoulders, and who, for the first time, are acting completely and utterly alone.
Harry Potter and the Deathly Hallows: Part 1
6Harry Potter and the Goblet of Fire (2005)
Directed by Mike Newell
It was withGoblet of Firethat the Harry Potter novels took their big first step towards adulthood, expanding not only in size but also in scope. DirectorMike Newelllikewise rises to the challenge of introducing a Wizarding World much larger than Hogwarts while also giving the franchise itsfirst major onscreen appearance of Voldemort(Ralph Fiennes). It’s in between these two heavy tasks, though, that Newell really shines, as he picks upPrisoner of Azkaban’stheme of burgeoning adolescence and moves it into the realm of romance, tackling the teen characters’ awkward feelings about the opposite sex. He handles this quite well, with plenty of drama for Harry, Ron, and Hermione on account of the looming ball and the arrival of new students from other schools. The scope ofGoblet of Fireis unwieldy and the pacing of the film suffers a bit in places, but theemotional beats of the third act really land even if Voldemort’s arrival isn’t as terrifying as it could/should have been. The movie’s themes echo Harry’s series arc, as he is once again faced with an impossible challenge in which he is given no choice but to participate.That’s Harry’s life — he was bestowed this recognition and reputation as “The Chosen One” as a child, with no say in the matter, and he is constantlyforced to rise to the occasionsimply because he has to.
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Goblet of Fireis arguably Rowling’s best Potter novel in the entire series, but here’s where things get conflated — just because it’s the best book doesn’t mean it’s the best movie. I saw this film before I had read the books and strongly disliked it, but after reading the series, came to love it.Those familiar with the books are able to flesh outparts of the films that fall short, and such is the case withGoblet of Fire. It’s certainly not a bad movie, and Newell brings a delightfully British energy to the proceedings, but it’s not as cohesive as some of the other installments in the film franchise.
Harry Potter and the Goblet of Fire
5Harry Potter and the Sorcerer’s Stone (2001)
While it may not be as flashy, refined, or impressive as the rest of the films in the franchise,Sorcerer’s Stone(orPhilosopher’s Stonefor the Potter purists) deserves immense credit for setting up this series so wonderfully and laying a fantastic foundation on which the other films could be built. Director Chris Columbus was not only responsible for putting together the incredible cast, but he also captured the Wizarding World on film in a manner that felt relatable and wholly transfixing.Sorcerer’s Stoneis told through the eyes of an 11-year-old, so the film skews a bit younger than subsequent installments, but Columbus refuses to talk down to his audience and wisely sidesteps delving into cartoony kids’ movie land.
Even though it’s tonally the lightest film of the bunch,Sorcerer’s Stonestill works wonderfully as a fantastic entry in the Harry Potter franchise. The winning combination of charm and smarts permeates throughout, andColumbus nails the founding friendshipof our three heroes, culminating in a grand finale that lets each one of them shine. Who can resist adorable Ron Weasley commanding a giant chess set with gusto as he sits atop a stone knight?
Harry Potter and the Sorcerer’s Stone
4Harry Potter and the Order of the Phoenix (2007)
In what would mark the final director change for the series,David Yatesmakes his debut with the politically-tingedOrder of the Phoenix. The film also happens to be the onlyHarry Pottermovie not written by Steve Kloves (Michael Goldenbergtook on scripting duties when Kloves declined to return, though he quickly changed his mind and was back forHalf-BloodPrince), but the team forged on to craft the most adult entry yet.Yates deftly navigates themes of power and corruption through the wonderfully realized character of Dolores Umbridge, played to perfection byImelda Staunton, who just might turn in the best performance of the entire franchise. Thecharacter is disgusting, disarming, and terrifyingall at once, and her impact at Hogwarts spurs Harry and Co. to start taking matters into their own hands.
It’s clear from the onset thatOrder of the Phoenixis going to be a rather different film, as Yates opts to open the movie in the heat of the summer, in a new location, with a layered confrontation between Harry and his cousin, Dudley (Harry Melling). The subsequent introduction of the Order once again serves to prove that Harry is a) not alone in his quest, and b) severely lacking in information about what’s really going on.The return of Sirius Black (Gary Oldman) bolsters the film’s emotional impact and deepens Harry’s arc, while the film also gives us some of the franchise’s best Harry-Snape (Alan Rickman) scenes. It all culminates in a visually arresting and surprisingly moving battle between Voldemort and Dumbledore at the Ministry of Magic, which is realized in a manner that’s both unexpected and deeply impactful. With his clear handle on character, theme, and set pieces, it’s no wonder Yates stuck around to see this franchise through to the end.
Harry Potter and the Order of the Phoenix
3Harry Potter and the Half-Blood Prince (2009)
David Yates’ second brush with the franchise finds him navigating material that’s both some of the series’ lightest and darkest, asHalf-Blood Princeis certainly the funniest film of the franchise, with Yates and the cast reveling in romantic-comedy territory throughout much of the story.Jim Broadbentbrings a goofy quality to Professor Slughorn that never goes over the top, while Harry and Ron’s many brushes with romanceprovide loads of comedic material, culminating in the guffaw-inducing “Hermione’s got nice skin” exchange during a nighttime chat.Radcliffe, Grint, and Watson shine in these moments, and it at times feels like they’ve been waiting the whole series to knock these comedic beats out of the park.
And yet, for all its levity,Half-Blood Princetackles some devastatingly dark material. The story beautifully builds to Dumbledore’s death (Yates’ decision to cut to a sea of wands pointing up at the sky in the immediate aftermath is a flash of brilliance) and Snape’s “betrayal” without the climax feeling like a shocking shift in tone.Yates and Kloves weave in Voldemort’s backstory and the introduction of the Horcruxes with ease. It’s this marvelous tonal balance that makesHalf-Blood Princeone of the most affecting films of the series, swinging from laughter to tears at the drop of a hat.
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And we haven’t even gotten to the film’s technical achievements yet. Yates and cinematographerBruno Delbonellget ambitious with the film’s visuals by opting for a softer and richer palette, resulting in as lush a movie as you can get;Prisoner of Azkabanis gorgeous, butHalf-Blood Princehas the best cinematography of the serieshands down. AndOrder of the PhoenixcomposerNicholas Hooperreturns to craft quite possibly the best score of the franchise sinceJohn Williams’ work, also moving deftly between two wildly different tones. Yates closes the film with an appropriate farewell to Hogwarts, setting himself up wonderfully for the one-two-punch finale. Butthe tactful navigation of humor, thrills, and emotional devastation solidifyHalf-Blood Princeas one of the best films in the series, and a tough act to follow.
Harry Potter and the Half Blood Prince
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2Harry Potter and the Deathly Hallows — Part 2 (2011)
Harry Potter and theDeathly Hallows – Part 1was nearly all setup, butDeathly Hallows – Part 2hits the ground running from the first frame and never lets up. This is a movie that offers payoff in every sense:emotional payoff, action payoff, and relationship payoff. David Yates had the unenviable task of wrapping up the most popular film franchise sinceStar Warsin a way that would satisfy even the most rabid of fans, and he absolutely sticks the landing with the most challenging film of the series.Deathly Hallows–Part 2is almost operatic in nature, as it builds to a grand finale at the place where it all started: Hogwarts.Not only are the set pieces exhilarating, but they’re anchored by characters we’ve grown to love over the course of seven films, and Yates plays into that attachment to emotionally shattering results. He handles the deaths of many familiar faces in unexpected ways — the obvious manipulative play would’ve been to showFred’s (James Phelps) death with swelling music, but Yates and Kloves instead reveal Fred’s fate after the fact, surrounded by his family, to much more gut-punching results.
Perhaps the film’s most difficult task was toestablish Snape as a (or arguablythe) heroin a single sequence. Yates, Kloves, and Alan Rickman rise to the challenge in one of the franchise’s most emotional moments that not only leaves the audience in tears for brave, dear Snape, but also solidifies Harry’s purpose: He must die. There are so many waysDeathly Hallows – Part 2could’ve gone wrong, but given how wonderfully the Harry Potter filmmaking team had fared before, I guess it shouldn’t really be a surprise that they brought this thing home with the same level of quality we’d seen previously.Harry Pottercloses in glorious fashion witha film that not only serves as a superb conclusion but also as a wholly satisfying entry unto itself.
Harry Potter and the Deathly Hallows - Part 2
1Harry Potter and the Prisoner of Azkaban (2004)
Directed by Alfonso Cuarón
The importance ofPrisoner of Azkabanto the Harry Potter film series cannot be overstated.This is the movie that established the creative direction and formula for the films that followed, as the series faced a crucial issue post-Chamber of Secrets. How does one adapt increasingly lengthy books into satisfying feature films? The solution: everything that is told from Harry’s point of view or that directly affects his character goes in, everything else is fair game for being dropped. But it wasn’t only the POV rule thatAzkabanestablished going forward; it was also the freedom to get creative —reallycreative.
DirectorAlfonso Cuarónsignificantly altered the look and feel ofHarry Potterwithout completely removing what Chris Columbus had built in the prior two films, while at the same time expanding the depth of the characters and, well, getting weird. From the Knight Bus sequence to theHogwarts choir(plus frogs) tothe Dementors,Prisoner of Azkabanis absolutely tactile — you canfeelthis world. And it’s a testament to Cuarón’s vision and cinematographerMichael Seresin’s beautiful photography that nearly every frame of film in this thing looks like a painting. The irises,the Whomping Willow marking the changes of the season, the camera moving through the clock — this movie is filled to the brim with unforgettable imagery.
Azkabanis also the film in which Radcliffe, Grint, and Watson really come into their own as actors and begin to forge a path that makes these characters their own. Radcliffe, in particular, shines opposite Gary OldmanandDavid Thewlis, as the character’s unending search for a father figure continues. Cuarón and Co. also had theunenviable task of recasting Dumbledorefollowing the great Richard Harris’ passing, but Michael Gambon picks up the baton beautifully — his performance neither tries to emulate Harris’ nor does it dishonor the actor’s previous characterization.
And whilethe time turner businessis executed to near-perfection (Azkabanreally is one of the most streamlined stories in Rowling’s book series), simply telling the story is not enough for Cuarón — everything is in service to the characters, which in turn services the film’s thematic throughline of adolescence. As they enter puberty,these young characters begin to forge a path of independence, and Cuarón captures this wonderfullyin manners both subtle (each actor wears his or her uniform slightly differently in this film) and obvious (Harry “running away from home” at the beginning). The merits ofPrisoner of Azkabanare almost unending, and while theHarry Potterfranchise would lead to other outstanding entries in subsequent years,Cuarón’s film still marks the creative highpoint in one of the best and most satisfying film franchises of all time. At the risk of sounding cliché,Harry Potter and the Prisoner of Azkabanis pure magic.
