Harry Potter and the Deathly Hallows, Part 2

Posted on July 14, 2011 at 8:00 am

Before I tell you about this film and about how much I liked it, I want to say thank you to J.K. Rowling and Warner Brothers for the care and devotion they gave to this extraordinary story. On the page and on the screen, this tale of The Boy Who Lived, from sleeping in a closet under the stairs and his first days at Hogwarts to the final confrontation with He Who Must Not Be Named (or perhaps He Who Must Be Named to be Confronted), it has been genuinely thrilling, deeply moving, and thoroughly satisfying.

There has never been and may never be again a story so electrifying over so many pages that has been so devotedly and expertly translated to the screen, with, remarkably, the same cast throughout (with the exception of the original Dumbledore, the late Richard Harris) to preserve our sense of seamless immersion in its world. Those of us lucky enough to start at the beginning and follow from the publication of the first book in 1998 (1997 in the UK) can measure our own passage of time against the characters’ as Harry, Hermione, Ron, and the rest grew up with never a false step or disappointment to speak of. The world of Harry Potter puts its surprises in a world that is completely believable because it is so thoroughly imagined. Perhaps the movies’ greatest achievement is in matching the visual detail to not just the descriptions in the books but to the narrative richness of a fully-realized world. Even the 3D glasses are Harry-fied.

And now, eight movies later, it takes us back to where it all began. Harry Potter (Daniel Radcliffe) is The Boy Who Lived. He was just a baby when his parents were killed protecting him from the Dark Lord known as Voldemort (Ralph Fiennes) to those brave enough to whisper his name. Most just call him He Who Must Not Be Named or try not to mention him at all. For seven movies, Voldemort has been getting stronger as Harry has been getting older. Now it is time for them to face each other.

The parallels between them are strong. They both have the rare gift of parseltongue, the ability to understand the language of snakes. The wand that chose Harry was the twin of the one used by Voldemort. In this last chapter, Harry finds out that they share more than he knew and that defeating Voldemort will require him to be willing to make the ultimate sacrifice.

As we learned in the last chapter, in a sense Voldemort has to be killed seven times. To make himself immortal, he has taken pieces of his soul and placed them in seven different objects, each well hidden and well protected. As this film begins, Harry, Hermione (Emma Watson), and Ron (Rupert Grint) have made some progress but the most difficult are still ahead. The separation of the soul itself is, for want of a better word, de-humanizing, and as a result of this dis-intigration Voldemort is disfigured inside and out, adding to his ruthlessness and power.

Part of the wonder of the books is the way small details that seemed merely deliciously atmospheric in earlier chapters turn out to be essential foundation for what comes now. We learned early in book one that the most impenetrable place on earth was the Gringott’s bank, run by goblins (those of a certain age might remember Jack Benny’s bank which was similarly, if more humorously, secure). Well, now our heroes have to break into the bank’s vaults and how will they do it?

The use of polyjuice potion is another reference to the first book, then an impetuous adventure, now deadly serious. Helena Bonham-Carter’s palpable pleasure in playing the deranged and evil Bellatrix Lestrange (Rowling has a Dickensian way with names) in the previous films benefits from too many years confined (literally) to corseted tea party roles. It is Bellatrix’s vault they must enter, and so here, Bonham-Carter has to turn herself inside out, playing Hermione disguised as Bellatrix. The balance of tension and comedy is exquisitely nerve-wracking.

Again and again, Rowling brings the story back to its origins and so after a movie away from school we return to Hogwarts, where the great battle begins. The more we remember of what we have seen so far, the deeper our understanding, whether it is the satisfaction of seeing something come together we have waited for or the surprise of seeing someone exceed our expectations by being more than we or even they thought possible. Everyone grows up, and we grow along with them.

Director David Yates moves the story smoothly into 3D, though you won’t miss much if you stick with the 2D version. The battle scenes are well staged and the pacing is excellent. If the final chapter got an unexpected and distracting laugh from the audience, it is a small problem in light of the grand sweep of a thoroughly enthralling epic, seamlessly organic, exciting, romantic, funny, and smart, one of the great cinematic achievements of the studio system. Well done, Harry, and a thousand points to Gryffindor.

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Transformers: Dark of the Moon

Posted on June 28, 2011 at 10:19 pm

I feel like Goldilocks. It’s not as good as the first one, but it’s not as awful as the second one. So, if that doesn’t make it just right, at least it makes it better than the second one and with some summer movie chases, fights, and explosions that make it popcorn-worthy.

It begins with a prologue that cheekily re-imagines the space race of the 1960’s as a secret mission to learn more about a mysterious rocket that crashed on the dark side of the moon in the late 1950’s. Archival footage of Presidents Kennedy, Johnson, and Nixon, and newsman Walter Cronkite is used to make it appear that in the brief moments our first moon landing was not visible from earth, the astronauts were exploring a cavernous machine. Even the 1986 Chernobyl nuclear accident is tied into cold war-ear secrets about what was found on the moon.

Then, we are in present day where Sam (Shia LeBeouf) returns as Sam Witwicky. Still in high school in the first movie, he is now out of college and looking for a job in Washington D.C. It’s tough these days, especially when you’re not allowed to put “saved the world — twice” on your resume for reasons of national security. Sam also has a new girlfriend named Carly (model Rosie Huntington-Whiteley). The departure of Megan Fox is explained in a few short lines. No one seems to miss her.

Sam meets Carly’s boss Dylan (Patrick Dempsey), a fabulously wealthy but very arrogant businessman (think Dr. McSleazy) and tries not to be jealous, even after Dylan gives Carly a $200,000 Mercedes. But, you know, blah blah and the bad robot decepticons are back, blah blah the head of National Security (Frances McDormand) tries to keep Sam away from his friends the autobots, and blah blah all something will do something if Sam doesn’t get that tractor beam out of commission, I mean knock out that pillar that has “the ability to reshape the universe” and build a bridge to another world (didn’t we just see that in “Thor?).

And then the humans fight each other and the robots and the robots fight each other and the humans. In 3D. Various characters turn out to be not what we thought. There are surprise guest cameos. And at two and a half hours it goes on much too long (believe me, they could have lost an hour and had a nice, brisk evening at the movies). McDormand, Ken Jeong (stuck with an embarrassing attempt at homophobic humor, literally with his pants down), and John Malcovich are completely wasted. Huntington-Whiteley is better at posing than acting — but she’s got legs and knows how to use them. And we once again do not get enough of John Duhamel. John Turturro wore out his welcome well before the first one ended but Alan Tudyk makes the role of his aide into something enjoyably off-kilter. It’s too loud, it’s too long, some of the battles are hard to follow, the action is entertaining and so is the but relief that it isn’t as awful as the last one.

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Green Lantern

Posted on June 16, 2011 at 9:52 am

Let’s get right down to it with the superhero essentials checklist. Cool powers? Check. Interesting villain? Check. Interesting girlfriend? Half a check. Aliens? Check. Fancy gala party? I’m not sure why that appears to be a crucial part of every superhero movie, but it’s here. Working through some angsty parental issues? Check. Special effects and action sequences? Maybe three-quarters of a check. Does the superhero outfit avoid looking silly? Half a check. Is the 3D worth it? No check.

Another month, another superhero, this time DC (home of Batman and Superman), not Marvel (home of the Fantastic Four, Iron Man, and Thor). Hal Jordan (a very buff Ryan Reynolds) is an irresponsible but irresistible rogue and a test pilot for a company that makes planes for the military. He has an on- and off relationship with the test pilot/executive daughter of the head of the company, Carol Ferris (“Gossip Girl’s” Blake Lively). When four members of the intergalactic force for peace and justice — think outer space Seal Team 6 — are killed by a creature who looks like a spider made of smoke, their special green lantern rings seek out the successors. For the first time, a human is invited to join the Green Lanterns. The alien dies, telling Hal only that he has to use the ring and lantern and say the oath. Hal tries the only oaths he can think of — pledge of allegiance, He-Man — before the ring and lantern lights up and he gets it right: “In brightest day, in blackest night, No evil shall escape my sight. Let those who worship evil’s might, Beware my power… Green Lantern’s light!“

It is fun as long as you don’t think too hard. There’s so much nattering about Will versus Fear that it could have been written by Ayn Rand and directed by Leni Riefenstahl. (Carol would be right at home with Dominique and Dagny.) The Lanterns’ power includes calling into being anything they can imagine, which undercuts any peril and dramatic tension in the big confrontations. It makes the struggle internal, one of strategic imagination and determination, not the best idea for a big special effects film. The bad guys include a nerdy scientist whose exposure to the evil smoke-spider turns him into a misshapen, anger- and jealousy-driven madman, and the smoke-spider, whose surprising connection to the Lanterns makes him even more dangerous. But it seems unfocused, overly fussy and most likely re-cut following a poor reaction to an earlier version — characters like Hal’s nephew and best friend are introduced and then disappear and Angela Bassett barely appears as a scientist. Mark Strong is a skeptical alien with a ridiculous mustache and even more ridiculous dialog, and the elders look like first-draft Yodas. And everybody has father issues. What, no one has a father who’s present and supportive? Aren’t there any mothers left? Reynolds does fine as Hal but Lively never lives up to her name, swanning around in elegant sheaths and high heels but without any of the wit or energy of Gwenyth Paltrow’s Pepper Potts. The credit sequence ends with a sneak peek at the villain for the next episode. Let’s hope they have the will to call up something a little more fearless next time.

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Super 8

Posted on June 9, 2011 at 6:09 pm

A couple of kids who are deeply in love with making movies have made a movie about kids deeply in love with making movies, and it is one of the most joyously thrilling treats of the summer, a love letter to childhood pleasures that last a lifetime.

Producer Steven Spielberg and writer-director J.J. Abrams may be chronological grown-up, but as this movie makes clear, they could have just as much fun with a super-8 camera and a box of M-80’s. Representing them in the film are Charles (Riley Griffiths) and Joe (Joel Courtney), middle schoolers in 1979 Lillian, Ohio, who are working on a movie to enter into a competition. In that pre-digital time, they are making it with a Super-8 camera, on film that is bought and developed at the camera store. Charles is the writer and director. Joe is in charge of make-up and special effects. Cary (Ryan Lee) in charge of explosions and Martin (Gabriel Basso) is their star. It is a zombie movie. But Charles has been reading about film-making and realizes that he has focused too much on scares and special effects. An article explains that the movie works better if there is a reason to feel something for the characters, so he decides that Martin’s detective character will have a wife. And that is how Alice (the luminous Elle Fanning) joins the group.

They sneak out one night to film a scene at the train station. When a truck drives onto the tracks as the train approaches, there is a spectacular crash. The kids run, but the camera keeps filming. What it shows will be the key to solving the real-life mystery about what was on the train.

As they wait for it to be developed, increasingly disturbing developments occupy Joe’s father, Lillian’s deputy sheriff. All the town’s dogs disappear. Engines are ripped out of cars. The sheriff and a gas station attendant are missing. The army has taken control of the crash site and will not tell anyone what is going on. The adults are so distracted that the kids are able to pursue their investigation — and their film-making — almost without supervision.

It feels in the best possible sense like a newly discovered Spielberg film from the “Goonies”/”E.T”/”Close Encounters of the Third Kind” era, with its suburban setting and kids’-eye sense of wonder and adventure. The meta-humor about the film within a film (stay through the credits to see what the final version looks like) is witty and heart-warming. “Production values!” says Charles as though it is a magical incantation. Which, in a way, it is. No one understands the language of film better than these guys and their evident pleasure in the economical story-telling through visuals adds to the dazzle. A worker silently removes the “784” from the sign that says “safety is our most important goal” and replaces it with a 1. When we then see Joe sitting by himself outside, we know what happened and feel his loss. Later, he pins a lost dog notice to a bulletin board and the camera pulls back to show us the entire board is covered with notes about lost dogs. The camera is in every way a part of the masterful storytelling here.

Like Charles, Abrams and Spielberg know that all the special effects and jump-out-at-you thrills in the world won’t resonate unless we care about the people in the story. This is definitely a movie about characters. The themes of parental estrangement are not always gracefully handled, but Abrams’ ability to put us inside the children’s world is breathtaking. All of the kids are great but Courtney and Fanning are marvels. A scene where he applies zombie make-up to her face is filled at the same time with longing, amazement, and unspoken understandings and is almost unbearably tender. Best of all is the way Abrams shows us that it is not just the happenstance of the movie footage that gives the kids the unique ability to solve the mystery and get everyone home safely; it is the way that particular moment poised between childhood and growing up gives them for a brief moment the unfiltered sense of wonder that makes everything in the world a discovery of equal magnitude and a universe of endless possibilities. It is a privileged moment that he lets us share, and a rare film that makes use of genre without getting overwhelmed by it. We get all of the popcorn pleasures of the stunts and special effects but we get the deeper pleasures of a great story, masterfully told.

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X-Men: First Class

Posted on June 6, 2011 at 2:47 pm

The two most interesting aspects of the X-Men are absorbingly explored in this prequel that takes us back to the childhoods of rival mutants Magneto and Professor Xavier, played in the first three films by classically trained Shakespearian actors Ian McKellan and Patrick Stewart. Professior Xavier wants to work with humans and use the evolutionary mutations that result in superpowers to promote peace. Magneto believes that the mutants are the product of an evolutionary leap forward and the sooner the humans are dispensed with, the better. While the super-powers and special effects are fun, it is this argument and the fluid loyalties of their followers is at the heart of the X-Men saga. This film takes us back to the days when the two were allies, if not friends, set in the post WWII Cold War era.

First, it gives us a glimpse of the two men as children. Magneto, then Erik Lehnsherr , is taken to a Polish concentration camp with his mother. His anger and anguish at being separated from her fuel his power to bend metal and control magnetism. He is taken to meet with a doctor who murders his mother to get him to access that power again. He is tortured to develop it further.

Charles Xavier is a British boy from a wealthy family living far from the war in Westchester, New York. His power is telepathy. And his only friend is a fellow mutant named Raven, whose natural appearance is blue and scaly but who has the power to take on any shape. Xavier (played as an adult by James McAvoy) gets a PhD in genetic mutation while Lehnsherr (played as an adult by Michael Fassbender) is exclusively focused on revenge against the doctor who killed his mother, now known as Sebastian Shaw (Kevin Bacon).

The great strength of the X-Men series is the way it taps into the feelings of all teenagers of being mutants. It is a natural part of that time of life to feel alienated and isolated, a bit horrified with the changes they are going through. Some of the best moments of the X-Men sagas are when the mutants learn for the first time that they are not alone and begin to own their strangeness and take pride in their powers. This film has a witty “outing” reference and as an origin story, it makes the most of its opportunity to show the young mutants collected by Xavier showing off for each other. The film also makes good use of its mid-century setting, hyper-accurate in the production design and slightly skewing the history to make the atomic age both a cause of the mutations and playing field for those who want a “final solution” for the human race. Lehnsherr’s views are more understandable in the context of his experiences; he has seen what happens when those who are seen as “other” are identified; they can be rounded up and killed. January Jones looks like she just walked out off the set of “In Like Flint” and her expressionless style works well for the icy Emma Frost. Bacon looks like someone who has just come from a party at the Playboy Mansion, smooth as a member of the Rat Pack in German and English. And it makes judicious use of archival footage, weaving President Kennedy’s announcements about the Cuban missile crisis into the story so effectively he might qualify for a supporting credit.

Director Matthew Vaughn gives the material a more straight-forward and conventional treatment than he did with “Layer Cake” and “Kick-Ass.” There are some sly in-jokes for the fanboys (a cameo appearance, two references to Xavier’s future baldness) but it does not have the heightened tone or self-awareness of his other work or the witty romantic fantasy of the underrated “Stardust.” Fassbender and McAvoy do their best, but he story and characters are more in service to the summer-movie special effects, which makes it fun, if not especially memorable. It is a serviceable film with moments of brightness and energy and fine performances but it never really comes alive.

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