Half-Blood Prince a cliffhanger lacking in momentum

Harry Potter and the Half Blood Prince

The end is near, for Harry Potter and his gang.

Harry Potter and the Half-Blood Prince is the sixth movie to be based on J.K. Rowling’s phenomenally popular books, and like all the previous sequels, it is darker and more mature than the instalments that have preceded it.

But there is only one book left to be adapted, and so this film is filled with a sense that things are coming to a head. Secrets are revealed, the nature of the evil Dark Lord Voldemort’s futile plan to cheat death is finally spelled out, and the film ends on a major cliffhanger that will set the story spinning towards its inevitable climax.

The best thing about the film is the way it finally – after all these years – gets Dumbledore (Michael Gambon) right, giving the Hogwarts headmaster just the right mix of absurdist whimsy, personal authority and startling vulnerability. Also very good is Jim Broadbent, the actor hired to play Horace Slughorn, the new potions professor.

But the film is regrettably lacking in other areas. There is very little spectacle, for one thing; in an odd way, it feels like one of those small character-based British dramas, except that there happen to be lots of visual effects in the background. And yet, ironically, the film pays very little attention to the supporting characters who have given this series some of its best grace notes.

While some major plot twists do transpire in this film, it feels strangely inert, and lacking in momentum. Hopefully, the powers that be will fix this problem when they adapt the seventh and final book – and bring the story to what should, by rights, be a stirring conclusion.

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The release date has changed a few times, but as of this writing, a movie based on the true story of an Iranian woman who was stoned to death in the 1980s, shortly after the rise of the ayatollahs, is set to open in Vancouver-area theatres July 31.

The Stoning of Soraya M. is written and directed by Cyrus Nowrasteh, an American of Persian descent, and it features many Iranian actors in its cast – including Shohreh Aghdashloo, who was Oscar-nominated several years ago for House of Sand and Fog, and has since had prominent supporting roles in films like The Nativity Story.

But the film also marks the reunion of a few people who collaborated on The Passion of the Christ, including producer Steve McEveety, co-star Jim Caviezel (who plays the real-life French-Iranian journalist who first reported this story) and composer John Debney.

What is more, the new movie also has some narrative parallels to The Passion, since it, too, is set in the Middle East and revolves around an innocent victim whose slow, torturous execution is portrayed in brutal, harrowing detail.

My interview with McEveety and Caviezel is up at ChristianityTodayMovies.com.

I also posted a couple of ‘bonus quotes’ at my blog, in which McEveety talks about some of the other films he is working on, including: Left to Tell, which concerns the ‘spiritual warfare’ behind the 1994 genocide in Rwanda; and Snowmen, a family film written and directed by Rob Kirbyson, a UBC film-school graduate who happens to be a Christian.

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Speaking of Kirbyson, his short film Ctrl Z, which played at the local film festival last year, has been picked up by NBC and turned into a series of short webisodes, all written and directed by Kirbyson himself. Check ‘em out online at NBC.com/ctrl.

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Kevin Miller must like controversy.

Last year, the Abbotsford-based screenwriter, occasional actor (he played Lex Luthor in an episode of Smallville) and sometime BC Christian News contributor, co-wrote the documentary Expelled: No Intelligence Allowed – which provoked a lot of debate about creationism, evolution, intelligent design and the social ramifications thereof.

And now, this year, he has a new documentary coming out that just might offend some of the conservatives who rallied to his previous film’s defense. It’s called With God on Our Side, and it’s about Christian Zionism – a theology which, as Miller puts it at his blog, leads “some Christians in the West to give uncritical support to Israeli government policies, even those that privilege Jews at the expense of Palestinians. This leads to great suffering for Muslim and Christian Palestinians alike, and threatens Israel’s security as a whole.”

The film, he adds, “suggests that there is a biblical alternative for Christians who want to love and support the people of Israel, a theology that doesn’t favour one people group over another – but instead, promotes peace and reconciliation for Jews and Palestinians.”

The filmmakers hope to release the movie sometime later this year. You can watch a trailer and read a bit of info about the film at its website, WithGodOnOurSide.com.


Harry Potter and the Order of the Phoenix

Harry Potter and the Order of the Phoenix

There is a lot that could be said about Harry Potter and the Order of the Phoenix. It is the longest of the books in J.K. Rowling’s phenomenally popular series, yet it is also the shortest of the five movies that have come out so far.

The book, which came out in 2003, was the first to be written after the movies went into production –- and it is tempting to wonder whether Rowling’s description of her characters was influenced in any way by the actors assigned to the roles.

The book was also the first to come out after the 9/11 terrorist attacks, which lent a heavy subtext to the plot of the novel – which concerns a cultural and political establishment determined to do anything but deal with the evildoers in its midst.

But if there is one thing Harry Potter fans remember about the book, it is that it was something of a disappointment. Despite its length, and despite the fact that a significant character dies, not a lot seems to have happened by the end. And this is a problem the movie version never really overcomes.

The previous film, Harry Potter and the Goblet of Fire, ended on a dark and serious note – with the return of Voldemort (Ralph Fiennes) and the murder of a student by his hands. These actions were witnessed only by Voldemort’s followers, known as the Death Eaters –- and by Harry Potter (Daniel Radcliffe), who barely escaped alive.

To this darkness, the new film adds a sense of mounting frustration. Just as the greatest trick the devil ever played was to convince the world he did not exist, so too Voldemort keeps a low profile throughout most of this story – allowing the wizarding world to think rumours of his return have been greatly exaggerated.

Thus, when Harry and his mentor, Hogwarts Headmaster Albus Dumbledore (Michael Gambon), try to warn their fellow wizards that Voldemort has come back, and that the wizarding world needs to prepare for the inevitable showdown, they are accused – by the government, the media and their friends –- of lying and fearmongering.

Chief among these accusers is Dolores Umbridge (Vera Drake’s Imelda Staunton) –- an official from the Ministry of Magic who has been appointed the new Defence Against the Dark Arts teacher, so the government can keep an eye on Dumbledore.

Unlike previous DADA teachers, who were all buffoonish or sympathetic, Umbridge is a genuinely nasty person. Her exceedingly proper etiquette and her demure sense of style –- the smiles, the wee laugh, the pink clothes and the china plates with cute animated kittens –- mask a cruel authoritarianism. She is, in fact, a sadist.

Thanks to story elements such as these, the film version of Phoenix was never going to be the fun, escapist lark the previous movies were. But one still cannot help but think the film could have been more than what it is.

Where, for example, is the sense of wonder and enchantment? Once again, Harry learns a few new things about Hogwarts and the wizarding world in general; but there is little sense of awe about it this time. For example, when a door to a secret room appears in the wall of one corridor, it is a convenient plot device, nothing more.

And where is the humour? At times, the film aims for a little levity; but more often than not, these moments feel forced, dutiful –- even recycled from earlier movies.

Worst of all, with the exception of a few scenes featuring Alan Rickman’s delectably devious Severus Snape, there are few –- if any –- of the ‘grace notes’ which have made each of the previous films memorable in their own way. Indeed, it is striking how this film brings together so many talented British actors, yet gives them so little to do.

This may be because the film is directed by David Yates, who is the fourth director to work on this series and the first with no experience on a Hollywood movie. But a bigger problem is probably the screenplay, by Michael Goldenberg. The earlier films, all of which were written by Steven Kloves, had to leave out bits of the books, and sometimes the omissions were puzzling –- but they were never this clumsy.

At a few points in this film, we get flashbacks to Harry’s younger days – to scenes from the earlier movies. It is startling to realize just how much growing up Harry has done since the first film came out six years ago.

It is also sobering to think that a series which began with such potential is beginning to show serious signs of sequel fatigue. Let us hope that the franchise gets its second wind, and soon.