Mike Newell | 157 mins | Blu-ray | 2.40:1 | UK & USA / English | 12 / PG-13
The fourth Harry Potter film is the pivot around which the series revolves, in oh so many ways. Most obviously, it’s book 4 of 7 — the halfway point. It’s also where the books switch from short ‘children’s novel’ lengths to the huge tomes they eventually became. More importantly, it’s the instalment on which the overarching plot of the entire series hangs. Although each previous entry in the Potter canon contributed something to the mythology (even if sometimes its significance wouldn’t become apparent until much later), they’re still viewable as discrete adventures. So too is Goblet of Fire, for the most part — the exception being its final act, which kicks off the story that will consume the rest of the series.
The film is no less of a turning point, for its own reasons. Note that this is when the films’ marketing began to emphasise the ageing of the actors: the teaser trailer begins with shots of Harry, Ron and Hermione from each of the four films; the promotional TV specials go behind the scenes not only on the new film but also its predecessors; clearly substantial retrospective interviews were conducted too: watch the Creating the World of Harry Potter: The Magic Begins documentary on the Philosopher’s Stone Ultimate Edition and it tells the story of the films’ birth by mixing interviews not only from the sets of the first film and the ‘now’ of the final film’s production, but also in costumes and on sets from the fourth movie.
It makes sense: at this point the series was moving beyond your stock franchise length of “trilogy” and into less frequently charted waters, amid speculation that the leads would be recast. With Goblet of Fire being the last point you could reasonably pull that off, I imagine it paid to emphasise that these were the same kids — that we see a cast age in more-or-less real time throughout their childhood, including many small supporting roles as well as the leads, is one of the Potter films’ more unique highlights.
The other big behind-the-scenes decision was one of length. As noted, this is the first Potter story to explode from a short children’s tale, which could be adapted in full in two-and-a-half to three hours, to a lengthy novel that would require masses of time to cover in full. Considerations of spreading it across two films were reportedly dismissed when director Mike Newell promised he could do it in one, essentially by cutting subplots and extraneous material — much as Alfonso Cuarón had on Prisoner of Azkaban, but on a grander scale. (Imagine if they hadn’t made that choice: instead of eight films, the Potter series would have sprawled to 11 instalments!) The result of such editing here is a very direct film, rattling through its plot — even with stuff cut, there’s still a lot of story to cover.
Said story concerns two foreign schools visiting Hogwarts for the Triwizard Tournament, a series of dangerous challenges, into which someone enters Harry against his will. It’s a nice clear through-line: a series of tasks, interspersed with investigations into who forced Harry to participate and why. It all comes to a head in one of the series’ most famous moments, the murder of Cedric Diggory. 
I can’t remember if Diggory’s meant to be a nice guy or an irritating jock, but here he’s played by Robert Pattinson, proving it’s not only his involvement with the Twilight franchise that makes him smug and annoying. Still, the impact of Diggory’s demise is still shocking and effective for those who don’t know it’s coming — this isn’t just a light series of children’s adventures any more. Of course, the death of a single-book supporting character is less impactful with an awareness of the franchise as a whole — there’s much worse to come, leaving this a mere opening move.
The other element that begins to creep in from this point is all the teenage romance stuff. Provoked mainly by the Yule Ball, with the guys having to pluck up courage to ask girls and dance lessons with teachers, the characters’ love lives start to become a notable factor. For all the plausibility and humour with which it’s depicted, there are times later when it will become a bit tiresome, especially in the novels. Fortunately, much of that’s internal monologue and subplot, and so goes astray here. Extra thanks to Mr Newell for that.
One of the more overlooked facets of Rowling’s work is her penchant for allegory and gentle satire. That’s understandable — they’re just Kids’ Books about magic, after all, and occasionally thuddingly written ones at that. Allegory you can take or leave (who’s really going to gain a perspective on HIV from Lupin’s struggle with lycanthropy?), but the satire is nice. Here it’s the press under fire. Rita Skeeter may have a greatly reduced role compared to the novel, 
but her Quick-Quotes Quill — which, essentially, just makes stuff up — is present and correct. The next tale, Order of the Phoenix, carries on this motif (the press demonise Harry), as well as setting its sights on blinkered and ineffectual government, and the evils of exam-focused impractical teachers. It’s all rather pleasing, actually, and you have to hope Potter’s millions of readers took it in and learnt something.
It’s easy to let certain events overshadow the entirety of Goblet of Fire; to subsume it into the single long narrative that arguably takes over the later stories. But though it puts broader events in motion, this is still a self-contained tale all its own — and one of the series’ most exciting at that, between storming action sequences and some effective twists. There’s a fair argument to be made that it’s the film series’ best entry.
In about a month, as I’ve already joined the Order of the Phoenix, uncovered the Half-Blood-Prince, and found both parts of the Deathly Hallows, I’ll offer an overview of the David Yates films…
Prisoner of Azkaban marks a significant turning point for the Harry Potter film series. Viewed now, it’s easy to see it as just Episode 3 of 8; a saga still getting underway. At the time, coming off the back of two incredibly successful films, it felt like a grand shake-up of an established formula.
Cuarón and screenwriter Steve Kloves (who would pen every Potter film bar 
The film series doesn’t treat either of them particularly well compared to the books, but then supporting characters and subplots are the first things to go (quite rightly). 
The first film from Seth MacFarlane, creator of 
but then they’ve been known to get sidetracked into some smutty laughs on occasion, so that may not be the best example.
Wahlberg performances swing between excellent (
Ted is pretty much a walking talking definition of “not for everyone” — which is fine. If you like Family Guy, it’s definitely one to try (LOVEFiLM has plenty of “I love Family Guy but hated this grrr!” reviews too); if you dislike Family Guy, probably one to avoid; if you’ve never seen Family Guy, what can I say, that’s the standard reviewer’s barometer here. It is rude, is crude, and is mostly very funny. But, whatever you decide, don’t leave the kids with the movie about the talking teddy.
Picking up more or less where 
their presence and storyline drag the film down.
This extended cut takes the already-lengthy second instalment in the Harry Potter franchise and pushes it to nearly three hours (though if you lop off the extensive end credits it’s more like two-and-three-quarters). As with the extended version of 
The longest extension comes near the start, when Harry misspeaks while using Floo powder and ends up in the nasty part of Diagon Alley. In the theatrical version he just walks out of the creepy shop, but here he has to hide as Malfoys Senior and Junior enter to sell some items. Though it has the advantage of showing us how Lucius treats his son when out of sight of more respectable wizards, and possibly seeds something for later films (what is the one item Malfoy isn’t prepared to sell?), it dilutes the introduction of Jason Isaacs’ villain, which in the theatrical version came slightly later in the bookshop, where he bumps into Harry, Hermione and the Weasleys as they’re leaving Lockhart’s signing. It’s a more effective, more dramatic introduction to someone who will become a major character as the series progresses.
There are, arguably, three notable additions to the cast this time out. The first is Lucius Malfoy who, as discussed, will come into his own later. Then there’s Gilderoy Lockhart, a preening wizard celebrity played with relish by Kenneth Branagh. He’s often very amusing and there’s not enough of him. And then there’s Dobby. Apparently Dobby is a beloved character; apparently kids really like him. I’ve always found him intensely irritating, and was surprised how much Rowling made me warm to him in 
Originally created for the film’s US TV premiere in May 2004, then later released on the film’s Ultimate Edition in 2009 (and not making it to the UK in HD until the Wizard’s Collection last September), this Extended Version of the first Harry Potter film adds six-and-a-half minutes of new bits and bobs to the already lengthy adaptation.
(See all of that with pictures 
that wasn’t common practice back at the turn of the millennium (unless your name was Ridley Scott), so the filmmakers can’t be blamed for not doing it. As it stands, I think they mostly struck a fair balance between fidelity and the fact it’s an adaptation. Similarly, Columbus’ direction is rarely exemplary, but it’s competent with some memorable moments.
We’ve had the Saint in New York, in London, and in Palm Springs; soon we’ll have the Falcon in Mexico, in Hollywood, and in San Francisco; but here, he’s just in danger. He’s also in perhaps the best film either series has offered to date.
Though the Falcon clearly agrees with everyone else’s assessment and shrugs her off as often as he can, to our benefit.
Seen by some as a 
Controversial supernatural mystery drama. Nicole Kidman’s rationalist husband dies suddenly; years later, as she gets engaged to another man, a boy arrives claiming to be her husband reincarnated. More realistic art house drama about grief and insecurity than thrill-giving occult mystery, it nonetheless keeps you guessing as Kidman is slowly convinced by the boy’s tale, while family relationships collapse around her. Full of quiet understated performances, Kidman is particularly captivating and, as the boy, Cameron Bright is mesmerisingly unreadable. Poorly received, with some 
Coming to it for the first time on Blu-ray, then, there’s an even bigger level of expectation attached. Iron Man had much the same problem five years ago, and I felt that had been overrated too. I don’t think either are bad films — I very much enjoyed Iron Man, and I enjoyed The Avengers, albeit more intermittently — but I don’t think either are as good as mass opinion holds.
Thor’s post-credits scenelet); plus numerous events from that film are mentioned and discussed, I’d say more so than any of the other four preceding films (scenes that would have more specifically related to the events of Captain America were cut for time and pace — yes, believe it or not, some stuff was left out).
meaning Thor 2 is going to have to begin somewhere after what happened here, with very specific ramifications for its characters. Maybe they’ve got some damnably clever way around that. I doubt they think it matters any more anyway — who hasn’t seen The Avengers? And in the future, well, it’s up to the viewer to piece together which order all the disparate sequels and spin-offs go in.
And the glaringly obvious thing I haven’t discussed is the title. Firstly, as you can see from all my akas at the top, no one can quite agree on what it’s meant to be. Secondly, there’s the highly contentious UK renaming. Did it need it? Patronised-feeling film and comic fans say “no”; but those aware of general public perception say that, either anecdotally or through research, normal Brits did report confusion with 
Amusingly, one of the few bits even those in implacable love with the film sometimes criticise is Banner’s “I’m always angry” moment, which I thought was an awesome perspective on the character. It’s not just convenience either — it was put it in for a specific reason. I’ve lost the quote, but it’s something to do with how Whedon always feels somewhat angry at various things. I could identify.
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