As the fifth year at Hogwarts begins most of the wizardry world is having a hard time believing Voldemort (Ralph Fiennes) has returned further propagated by the Ministry of Magic who refuses to recognize anything evil is brewing and blames all the hullabaloo on Harry (Daniel Radcliffe) and Dumbledore (Michael Gambon). The Ministry even interferes with Hogwarts business by making Ministry employee Dolores Umbridge (Imelda Staunton) the new Defense Against the Dark Arts professor whose outwardly sweet demeanor hides a sadistic streak a mile wide. She thinks the children should only learn about the Dark Arts “theoretically” and tortures all those who disagree. But the Voldemort threat is a reality and Dumbledore has re-formed the Order of the Phoenix a group of witches and wizards that prepares to battle the Dark Lord. Harry is unfortunately being kept in the dark for his protection of course even as his connection to Voldemort grows stronger and he’s royally peeved at being ignored. Urged on by Hermione (Emma Watson) and Ron (Rupert Grint) he forms his own order of Hogwarts students called Dumbledore’s Army to teach them what defenses against the Dark Arts he has already learned. Oh yeah Harry also shares his first kiss but make no bones about it—love is the furthest thing on Harry’s mind when the crap hits the fan. War is imminent. Everyone steps up their game in Order of the Phoenix. Radcliffe Watson and Grint have shed their adolescent whininess and aw-shucks goofiness to give their characters the greatest depth so far. They are forced to grow up pretty quickly in Order with little time for any playfulness and the three actors handle the seriousness with aplomb. Of course both Radcliffe and Grint have already ventured out of the Potter world—Radcliffe shed more than just adolescence on stage in a production of Equus while Grint lost his virginity in the indie Driving Lessons--and their extra experience shows in Order. Also good are Matthew Lewis as the usually clumsy Neville Longbottom who shows his mettle in more ways than one and newcomer Evanna Lynch as the slightly off-kilter Luna Lovegood who proves to be a loyal member of Dumbledore’s Army. But the kids have to keep up with the talented adult cast especially Oscar-nominated Staunton (Vera Drake) as Umbridge. The veteran actress’ interpretation of one of J.K. Rowling’s nastiest characters so far in the Potter lore is spot-on down to the pink wool suits and irritating twitter “ahem” she uses when she wants your undivided attention. Helena Bonham Carter also makes an impression however over the top it is as the evil Voldemort follower Bellatrix Lestrange. Does she ever want to look pretty onscreen? Then there’s the laundry list of Brits whose time onscreen may be short but is nonetheless memorable including Alan Rickman as the sneering Prof. Snape; Gambon as the wise but flawed Dumbledore; Gary Oldman as the kindly Sirius Black Harry’s only real family; and of course Fiennes as He-Who-Must-Not-Be-Named. His late-in-the-game appearance once again throws you for a loop. It stands to reason that at five movies in moviegoers would have a favorite Harry Potter flick by now. Those who love those Triwizard Tournament special effects might feel The Goblet of Fire was the best; or Prisoner of Azkaban for its time-bending action. Yet The Order of the Phoenix may be the one movie that speaks directly to the fans of the books. Without as much wide-eyed wonderment or wizardry flash the story is still chockfull of compelling details that are absolutely pivotal to the continuing Harry Potter saga. Screenwriter Michael Goldenberg (Peter Pan) and director David Yates (HBO’s The Girl in the Café) manage to wade through this volume of information and cut successfully to the chase with great effect. Yates who has signed on to do the sixth movie Harry Potter and the Half-Blood Prince even shows an affinity for action in the final dramatic confrontation between good witches and wizards and bad ones. But overall Order of the Phoenix may leave audiences not as well-versed in the novels a little itchy for some good old-fashioned wand-waving and Disney special effects. Thing is it’s just going to keep getting darker and darker for Harry and his crew. The days of happy fun playtime are over.
White Oleander focuses on teen beauty Astrid Magnusson (Alison Lohman) and her equally beautiful mother Ingrid (Michelle Pfeiffer) an accomplished--if self-centered and manipulative--artist who tends to drag her daughter a budding artist in her own right into her own neuroses. To Astrid however her mother is a goddess--at least until police charge Ingrid with poisoning her lover in a fit of jealousy and she is sentenced to life imprisonment. Astrid is immediately placed into the foster care program and each new home presents a different set of rules for the young girl. There's life with Starr (Robin Wright Penn) an alcoholic-turned-born-again-Christian who becomes violently jealous of Astrid. There's life in a child-welfare institution where Astrid meets Paul (Patrick Fugit) a comic book artist with whom she immediately connects. Then there's life with Claire (Renee Zellweger) a lonely woman who can't have children of her own and whose husband (Noah Wyle) is never home. Claire shows Astrid the kind of genuine love the girl has never experienced but Ingrid haunts them needling and sabotaging her daughter's happiness at every turn. Astrid could simply go off the deep end but instead she becomes more resilient ultimately reaching a place where she can love her mother without letting her destroy her life. Sapville.
The acting talent in Oleander is definitely the movie's saving grace. The actresses make the film's trite dialogue almost palatable. Pfeiffer is amazingly beautiful and strong as Ingrid and she manages to burn the character into our brains even when she's not on the screen. Ingrid's relationship with her daughter is at times hard to watch: Ingrid digs at Astrid to try and control her but all this really does is expose Ingrid's own insecurities and failings as a mother. Pfeiffer relishes these moments and plays them to their full effect. Playing the other two "mothers" in Astrid's life the always good Penn takes the thankless part of Starr and turns it into something memorable while Zellweger's expert turn as Claire has a broken-doll quality that perfectly captures the character's fragility. The real dilemma for the film's producers was finding the right Astrid--an actress who could hold her own at the heart of the story--and whose talent would hold up opposite Pfieffer. Lohman was chosen from a cast of thousands and does a fine job playing Astrid; the camera clearly loves her. Still she needs a little more experience under her belt before she can truly shine. Fugit who was once the newcomer himself in Almost Famous (and did a much better job the first time out) manages to create a believable rapport with Lohman as her boyfriend Paul.
OK this is a gripe to all Hollywood executives: stop using sentimental material to make major motion pictures even if it is from a bestselling book. While Fitch's novel tells a moving story it does not necessarily translate into an inspiring film. Director Peter Kosminsky does his best with Oleander to create a haunting atmosphere and there are times when the material is elevated especially in the scenes between Zellweger and Lohman and those that explore the tragedy that befalls them. Yet ultimately the film plays like an after-school special. This isn't to say an intimate story can't make an interesting movie (The Good Girl and Igby Goes Down are just two examples of what's out there right now) but Oleander fails to engage its audience in any kind of meaningful way.