Previously on Harry Potter: Big bad Voldemort steals the Elder Wand from Dumbledore's grave while Harry mourns the loss of his wee elf friend Dobby and begins his search for the remaining Horcruxes.
If that recap leaves you with hazy memories of last year's Deathly Hallows - Part 1 you may want to pop in the DVD before taking on the Harry Potter franchise's grand finale Deathly Hallows - Part 2. The eighth film in the series doesn't pull any punches demanding your knowledge of the saga's previous events and crescendoing off a foundation of character and connection built over a decade of cinematic excursions. That's not a fault -- Deathly Hallows - Part 2 serves hardcore fans and dedicated patrons of the franchise alike bouncing elegantly back and forth between explosive action and emotional conclusions. At this point that's what matters.
Whereas Deathly Hallows - Part 1 took Harry Hermione and Ron on a gritty race through the real world Part 2 brings the trio back to their home base Hogwarts School of Magic and Child Death where their colleagues and professors find themselves defending it against the empowered Voldemort and his band of Death Eaters. Similarly to Transformers: Dark of the Moon Deathly Hallows - Part 2 spends most of its run time following various established characters as they navigate the epic battle. Unlike the clunky erratic action of TF3 director David Yates manages to execute the sequences in Potter with bravado making sure we give a damn every time Potter discovers a secret from the past blows a Death Eater out a window or glances upon one of his closest friends lying dead on the floor.
For all its otherworldliness Potter is and always has been a human story one that puts its characters before spectacle. But when Yates and his team of FX wizards do unleash their bag of spells on the screen they do it with a very BIG bang. Deathly Hallows - Part 2's scope is on par with the Lord of the Rings trilogy bringing everything from trolls to spiders to animate statues into the wizards' massive assault. The franchise hasn't seen action on this scale before but Yates never misses a beat or opportunity to dazzle with visual eye candy. Turning the crumbling of Hogwarts castle into a riveting poignant experience -- true magic.
Once again Daniel Radcliffe Emma Watson Rupert Grint and a cast of veteran British thespians deliver the necessary gravitas to anchor Potter's fantastical elements in reality. With everything finally on the line in Deathly Hallows - Part 2 each performance is at its best and Radcliffe steps up to the plate to make his final showdown with Voldemort one to remember. He spends most of the movie covered in dirt encrusted blood on his face and a harrowing sense of death behind his eyes. Heavy material but Radcliffe pulls it off.
Few franchises have the chance that Harry Potter has been fortunate enough to receive to follow the same familiar faces through years of ever-complicating story. Thankfully Deathly Hallows - Part 2 doesn't squander the opportunity. The saga swells with a triumphant final act one that never forgets why people love the movies in the first place. The adventure the awe the comedy the thrills the people the places the things -- those are the elements that make Harry Potter grand and they return in perfect form once more to say good-bye.
Dreamer is another one of those family films--based on a true story no less--that makes you feel guilty for not liking it because it means so well. The film revolves around the Cranes who have worked on their Kentucky horse farm for generations. But gifted horseman Ben Crane (Kurt Russell) loses his love for the job when the farm hits hard times. His estranged father Pop (Kris Kristofferson) feels like his son has given up unnecessarily. Even Ben’s young daughter Cale (Dakota Fanning) can’t get through to her dad. The only way this family can heal is by helping an injured horse named Sonya get ready for a seemingly impossible goal: to win the Breeders' Cup Classic. Say it together: “Awww!” At least the film gets it half right in its casting. Russell is perfect as the beleaguered Ben a man who needs a little inspiration to get back on track and he thankfully never takes it over the top. Same goes for Kristofferson who is aptly crusty and unwilling to give his son an inch--that is until his granddaughter and that darned horse melt his heart. And the family resemblance is uncanny; apparently the two actors have been told quite often how much they look like each other. The one misstep here is Fanning. Yes she is an extraordinarily gifted actress for her age but Cale should have been played by a happy sunny child. The oh-so-serious Fanning doesn’t really qualify. Also Elisabeth Shue as the mom is all wrong. A horse farmer’s wife? Please. Writer-director John Gatins takes a big gamble making his directorial debut with a movie about an underdog horse. First there’s the underdog part. This year seems a bit saturated with the plot device what with films like Cinderella Man and most recently Greatest Game Ever Played. Second there’s the whole horse thing. It’s just going to be hard to top the Oscar-nominated Seabiscuit--the quintessential true horse-racing movie to beat them all. True Dreamer is based on a true story and is nicely--albeit conventionally--framed. But the film isn’t unique in any way. It’s the same feel-good family stuff we’ve been swallowing all year. See? I told you I’d feel guilty for knocking it.
Based on a series of six Marvel Comics created by writer Stan Lee and artist Jack Kirby in 1962 The Hulk revolves around a scientist named Bruce Banner (Eric Bana) who following a laboratory snafu absorbs a normally deadly dose of gamma radiation. Bruce thinks he has escaped unscathed--until he gets mad ... real mad which causes him to turn into a huge rampaging green monster known as the Hulk. In order to make this 40-year-old gamma theory somewhat more believable for today's science-savvy moviegoers screenwriter James Schamus and his team decided to arm the script with a somewhat more convincing scientific rationale. The story follows Bruce's father David Banner (Nick Nolte) who as a young scientist conducted prohibited genetic experiments on himself thus changing his son's life before he was even out of the womb. While modernizing the scientific reasoning behind Bruce's transformation makes sense it's a pity it had to be done in such a heavy-handed way. By adding such an elaborate layer to the story The Hulk becomes more about Bruce and David's tormented past and any semblance of a plot is buried in melodramatic dialogue between the characters. The result is a comic book adaptation that is much too serious for its own genre.
Despite the theatrical discourse don't expect complex characters to emerge from The Hulk. Although Bana (Black Hawk Down) is a good choice for the lead of the nerdy scientist and reluctant hero his character is so busy pretending he doesn't have any problems that the audience never gets to see his emotional side. Bana's character grimaces convincingly as he represses his anger for example but he fails ever to open up on a personal level to his love interest in the film his co-worker Betty played by Jennifer Connelly (A Beautiful Mind). Betty is Bruce's old flame but the two are obviously still in love: she is obsessed with fixing whatever is broken about him. As the Hulk Bruce need only look at Betty once for his anger to subside and allow him to morph back into human form. They have weighty discussions about the significance of their dreams and Bruce's past yet they never seem to connect on any level. One of the film's best performances comes from Nolte (The Good Thief) in the role of Bruce's mad scientist father David. Almost Shakespearean at times Nolte--scraggly hair and all-- completely immerses himself in the role. The cast's performances however are muted by the general heaviness of this would-be actioner. Look for quick cameo appearances by Lou Ferrigno (from the 1970s TV series The Incredible Hulk) and Marvel legend Stan Lee.
For his follow-up to Crouching Tiger Hidden Dragon Ang Lee has turned to bigger greener matters. The Hulk the director's visual effects-intense picture (with a little help from Industrial Light & Magic) is stunning and startlingly well done. The green beast's computer generated movements from his heaving chest to the single leaps that spring him well into a different zip code are convincingly real. Not only does the ground shake when this goliath lands but his momentum even throws him off balance at times sending his lumbering arms flailing. But while the CGI Hulk has been meticulously honed Lee's homage to the world of print comic books--using multiple screens to present concurrent storylines and alternate angles of the same scene--is off-putting: Rival researcher Glenn Talbot (Josh Lucas) suspiciously walks out of the lab Betty reacts in one panel Bruce sits back in another. The simultaneous screens don't necessarily show anything pertinent going on making the far and wide close and medium shots of the character's reactions a distraction rather than a helpful storytelling technique. But the most disconcerting thing about the film is that in its leap from the four-color paneled pages to the big screen it lost its wit.