Harry Potter and the Order of the Phoenix

By the time most franchises have reached their fifth installment, it has either undergone a drastic reinterpretation or has become so tired and repetitive that it’s hardly worth a look. What a joy, then, to see that the HARRY POTTER franchise is still going strong, with its newest actually improving upon its immediate predecessor. Also, unlike the first two films, it manages to create a nice balance between the need to be an adaptation of the much-beloved book but also work on an entirely cinematic level for the uninitiated. This balance strips the tale down to its barest bones, which works both for and against the film in the end.

Since the evil Lord Voldemort’s return in the previous film, all of the wizarding world has been held in suspense. A strong sense of paranoia haunts the governmental Ministry of Magic, casting doubt on fearless hero Harry Potter and his previous experiences. This doubt about his proclamation of Voldemort’s return follows him all the way back to Hogwarts, where he finds himself isolated from most of the students. All the while, hormones are still raging as Harry tentatively steps forward with his relationship with Cho Chang (a constantly charming Katie Leung, their chemistry strong enough to produce one of the more memorable screen kisses in recent years). And in the background, evil and deception lurks in the typical parade of British Acting All-Stars, featuring the franchise debuts of Imelda Staunton as one of the most despicable, evil characters created for a family film and Helena Bonham Carter, reveling in off-kilter delight in her brief role as a Death Eater.

As is the main problem with all the HARRY POTTER films, the key to its success lies in the adaptation of the lengthy novels. At 138 minutes, this is the shortest film yet and the story is cut down as much as it can be. As a result, many of the supporting characters are pushed aside. Veterans like Maggie Smith, Emma Thompson, Robbie Coltrane, Brendan Gleeson and David Thewlis are relegated to just a few minutes of screen time, popping in here and there to say a line or two. Several subplots are largely ignored, also leaving intriguing new characters (mainly Natalia Tena as Tonks) regrettably underused. In an attempt to speed things along, many important plot points are left to be explained through dialogue, not only jumbling the plot and potentially confusing the viewer but skipping the opportunity to delve even more into the Potter universe. The purpose of the “Order” in the main title is only explained in one line, and the actual group is only seen together once or twice.

The major breakthrough in the film is the performances of those who get enough time to warrant attention. It’s been said in many places that the three main stars (Daniel Radcliffe, Emma Watson and Rupert Grint) have improved their skills with each passing film, and this is certainly no exception. Radcliffe is a revelation; leaps and bounds ahead of his admirable work in the past two films, he imbues his performance here with an aggressive frustration that is attention-grabbing, sympathetic and always genuine. Finally the film becomes entirely his and he holds focus like never before. Watson and Grint, while given less to do, are still solid and serve as a reminder of the more carefree days of the past. The three together have an undeniable chemistry that invites the viewer in. Evanna Lynch gives a memorable debut performance as the dazed Luna Lovegood, alternating perfectly between comic relief and genuine sadness. Staunton and Bonham Carter both give delightfully evil, freewheeling performances, with Staunton in particular crafting the careful portrayal every Harry Potter sadist dreamed Dolores Umbridge would be. Returning cast members Alan Rickman, Gary Oldman and Michael Gambon continue their solid characterizations, with Rickman in particular adding a new dynamic to his previously cold character that stretches beyond merely what he says.

British director David Yates makes his big-budget debut here and couldn’t be in finer shape. Not only does he guide the cast to series-best performances, but many of the technical aspects are simply superb, from Stuart Craig’s intricate production design to Slawomir Idziak’s simply stunning photography; a palette of nightmarish grays, blues and greens that help make this film far darker than any others before it. The film is almost too dark for its own good; the level of seriousness is almost relentless, with only a few moments taken off to inject some comedy into the mix.

While not as distinguished as HARRY POTTER AND THE PRISONER OF AZKABAN, this film is a worthy continuation of the franchise. It improves on several problems in the previous film and shows an irresistibly intriguing development in design and performance. Though the film is bleak and dark, and it rushes through the plot a bit too quickly, Yates has only served to drive up anticipation for the next installment. Once again, HARRY POTTER proves that it is one of the few modern franchises that deserves every single penny it earns.

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