Oscar Biggest Snubs

Oscar’s 2012 Biggest Snubs

Yes, it’s that time of the year again,when newspaper and magazines are covered not only by the news of the movies that got nominated for the most prestigious Awards, but also the mentions of the ones that didn’t. When those golden statuettes are handed over to the makers behind the “Artist” (Let’s all face it: it’s going to happen), some big names are not going to be there among the audience. In fact, some truly deserving movies have been absolutely snubbed! Social networks like Twitter or Facebook all had their chances to raise their concerns about what’s gone unnoticed by the Academy. Most people seem to have been raging especially about one absence:  Ryan Gosling. Obviously writing and complaining about all this could seem a pretty pointless exercise… But not necessarily… The history of the Oscars is full of great snubs (and consequently people going up in arms against the Academy), but it’s also full of strange victories which might not have been particularly deserving, if it wasn’t for the fact that they happened to follow some great snub (most notably: Whoopy Goldberg missing out for “The Color Purple” and the following winning for “Ghost“, or even Martin Scorsese’s constant snubs over the years and his recent win for “The Departed”, just to mention a few). It is well known that Oscars are not aways given to the most deserving film (or person).In 1994 Pulp Fiction and Shawshank Redemption both lost out to Forrest Gump. In 1998 Saving Private Ryan was shockingly beaten by Shakespeare in Love (cute film, yes, but Oscar worthy?)In 1989 Driving miss Daisy won over 4 more deserving films “Born on the Fourth of July“, “Dead Poets Society“, Field of Dreams, “My Left Foot“…  And back in 1980 Ordinary people won over both Elephant Man and Raging Bull. Many of those movies that today we consider masterpieces never got an Oscar: Taxi driver, Goodfellas, Apocalipse Now and Citizen Kane are just 4 of them… And I could go on forever. But the travesties don’t stop with Feature of Films. When it comes to awarding actors and directors it is just as bad: Stanley Kubrick or Alfred Hitchcock, Robert Altman, David Lynch never won. Ralph Fiennes lost in the year of his brilliant performance in Schilndler’s List and somehow Marisa Tomei won as a supporting actress for My Cousin Vinny” (yes, I am not kidding!). Ok, let’s stop here, before I get a heart attack…

This is my list of the 10 biggest snubs for 2012. Let me know if you agree.

1 ) Ryan Gosling

This is the second time in a row that Ryan gets snubbed by the Academy. Last year for some obscure reason he was not even nominated for his great performance in Blue Valentine ,which was just as strong and powerful,l if not more, than the one by the nominated Michelle Williams (here’s my review of that film). It’s all even more shocking this year, since not only he seemed to be the front-runner with his dramatic (and yet restrained) performances in both Drive and the Ides of March, but also he also showed us his comedic timing with his supporting role in the surprisingly good Crazy Stupid Love.

 2) The Adventures of Tintin. The Secret of the Unicorn

Ok, we all probably agree that this wasn’t the greatest masterpiece of all time: the story felt segmented and slightly anticlimactic towards the end, the comic timing wasn’t always there, and the character of Tintin wasn’t always as engaging as he could have been. But as a piece of animation, it was impressive, rich, inventive and skilfully put together. Instead the Academy chose to ignore Spielberg’s first foray into 3D animation veering towards a much the more restrained and old-fashioned approach of A Cat in Paris  (Click here to see a clip from it) and Chico and Rita (here’s the trailer). While this was surely a choice to be praised and commended for, I’m not sure the same can be said about nominating uninspired filler-films like Kung-Fu Panda 2, Puss in boots. Even Rango, though probably the most deriving one on the US list is in the end rather forgettable.

 3) Drive

In a year of so many average-to-OK films, surely this one should have made the list, not just as a film or for its directing (and of course for Ryan Gosling as I have just mentioned above), but also for its stylish look, sharp and yet never flashy editing (which gave the film an almost palpable tension) and its use of music. Instead, one of the best films of the year  was relegated to just 1 nomination of best use of Sound Editing (a nomination which I always find very hard to distinguish from Sound Mixing. In fact they usually always go together, except in this case where Moneyball was nominated for sound mixing instead of Drive). And while I am at it, I should also mention the non-nomination for Albert Brooks (who many thought was a shoe-in) for supporting actor. All quite shocking, I have to say. In fact, a real shame!… And talking about “shame”…

 4) Michael Fassbender

Whether you liked  Shame or not, nobody can deny that Fassbender’s performance in the film was truly mesmerizing. The entire film focused on Micheal’s face and his body as he literally exposed himself to us. His every single weakness, every single thought and every single body part is there for us to see, as his tortured soul descend more and more towards hell. And even if  Shame was a bit too much for the Academy’s taste, his performances in both Jane Eyre , A Dangerous Method should at least have been noted. One thing is certain: both Fassbender and Goslinghave been the actors of 2012, and yet neither of them appears to be nominated.

 5) Tilda Swinton

Tilda’s haunting and shattering performance in We Need to Talk About Kevin was absolutely astonishing and possibly one of the best of her career. The fact that she’s not even among the list of nominees is nothing short of truly baffling. It seems that the film is another of those “downer” which are usually too harsh, too depressing and basically just not friendly enough to appear next to the word Oscar. In fact, not only Tilda didn’t make the list, but nor the film, nor its director, nor its script, nor the truly terrifying Ezra Miller (as the “Kevin” from the title), not even the ever perfect John C. Reilly (as Tilda’s husband in the film) who’s always getting sidelined, but who sooner or later should really be recognised for his many great characters over the years.

 6) Senna

This wasn’t a big surprise since we already knew that the film had not even made the long-list among the documentaries to be considered for the nomination, but that doesn’t make it any less of a snub. In fact it’s probably an even bigger one! Not that Senna needs any more awards or recognition to prove how good it is.  Made of just archive material and no talking-heads Senna was one  of the most powerful film (not just documentary) of the year not just for the Formula 1 fans but even for people like me who can hardly tell you the difference between a Ferrari and a McLaren. Riveting, inspired, incredibly moving and yet missing from the Oscar 2012.

 7) 50/50

Of course this isn’t masterpiece and some people may argue it shouldn’t really deserve any Oscar, but if the Help is up there, together with Bridesmaids and, let’s face it, Midnight in Paris, why can 50/50 be there as well. After all it was one of the bravest films coming out of Hollywood last few year which not only was able to tackle a subject like cancer with the constraints of a comedy, but it also did it with great respect, incredible taste and yet without hiding away from the harsh reality of the subject matter. Anyone in the film deserved to be at least mentioned: Joseph Gordon-Levitt, acutely observed performance, Seth Rogen‘s honest turn as best friend of somebody who’s been diagnosed with cancer, Jonathan Levine‘s directorial decisions to handle such a delicate subject without any of the lush, or even syrupy and cheesy ways that usually come with such a Hollywood product. Even Will Reiser‘s script (written from his own experience, usually a winner formula for getting an Oscar) was snubbed by the Academy.

 8) Leonardo di Caprio

Leo has never been very lucky at the Oscars. In 1993 was nominated for his greatest performance in What’s eating Gilberg Grape, but lost our to Tommy Lee Jones for the Fugitive (yes, indeed!!), back in 1997 he was the only person in the whole crew from Titanic who was completely snubbed (though he was one of the main reason for the astronomical success of that movie). He also lost for both the Aviator and Blood Diamonds and was sidelined for his roles in Catch me if you can and Revolutionary Road. J. Edgar is definitely not a good film (And that’s why it received zero nominations! Here’s my review), but nor is The Iron Lady (and here’s the review for that one too) and yet that didn’t stop Meryl Streep for being nominated (and hopefully win her 3rd highly deserved Oscar!). Leo’s performance was not just the best thing in the film, but actually very good. Unfortunately it probably suffered too much by all those way-too-many layers of latex of all the prosthetics he was forced to wear, but I would have certainly chosen him over Brad Pitt in Moneyball (By the way, how strange to find Pitt nominated for Moneyball and not The Tree of Life).

 9) Motion Capture Performance

During the recent Oscar campaign Fox has been asking Academy members to consider Andy Serkis’s turn as Caesar in Rise of the Planet of the Apes as one of the top male performances. However when it comes to Motion-capture technology, it is very hard to tell where does the actual performance come from:is it the actor behind the pixels or  the animator who took the performance and transformed it and enhanced it. It is a fair argument, however the same can be said about normal performances and direction orediting. Was that particular reaction just spot on because of the greatness of the actor or because of the way the director cheated the actor into it and the way the editor was able to smoothly cut it into the film (famously Hitchcock used to have fun in shocking his actresses by unzipping his pants and filming their reactions to be used in his films to be used in completely different contexts. And Spielberg himself told stories of how he got some of the best performances out of children by cheating, playing or even lying to them). Whatever the truth is, you can still tell Andy Serkis out of all the apes in Rise of the Planets of the Apes: his eyes in the film tell a thousand more words than any of the other performances in any other film of the year. It’s about time the Academy starts recognising this new art.

 10) Steven Spielberg

The Academy and Steven Spielberg have always had a troublesome relationship ever since Jaws in 1975 (which was nominated for best film, but not for best director). The biggest snub came ten years later in 1985 when The Color Purple was nominated for 11 Oscars (except for director) and ended up winning none. In 1987 Empire of the sun won none of the 6 nominations (and once again Spielberg didn’t make the list),   Schindler’s list was the game-changer of course and Saving Private Ryan confirmed that things were indeed changing as he won his second Golden Award as best director (however missing out of best film, which shockingly went to Shakespeare in Love). Since then his films have arguably been less good (and this statement comes from somebody who adores Spielberg!!) so it’s not surprising to find the number of nominations and awards getting slimmer and slimmer. Even his 2005 Munich which received 5 nods, didn’t actually win any Oscar. War Horse is certainly a flawed movie, but some of the best sequences in it are good because of Spielberg and not despite of him. Nominating the film and not his director always makes very little sense to me. Even more so, in the case of War Horse (especially when it’s missing out against  In a year when even Tintin missed out on its chance for an Oscar it seems to me that we are going back to the early days when Spielberg was ignored just because it was Spielberg. We may have to wait until next year with the release of his next Lincoln to see whether the spell can be broken (or, somebody may argue, whether he can actually make a good film). If you’re interested,

11) Harry Potter

This has always been something peculiar: not a single Harry Potter movie has ever won an Oscar. Some of you may say “well, rightly so”, but it has to be said that this isn’t just the most successful movie franchise in history (close to 7 billion $ at the time of writing this, in the cinema alone) but it has been quite groundbreaking on the level of care and attention as far as set design, art direction, costumes, and special effects. And let’s not forget John Williams’ classic soundtrack. Were any of those elements any less impressive then the ones in the Lord of the Rings Trilogy (which actually ended up getting awards left and right on every single instalment?). I would probably take this even further and say that the last few films have even been beautifully filmed and choreographed. recently a lot of fans have been campaigning for Alan Rickman to be nominated for the latest instalment. This is something that sort of makes sense if you have watched the entire series and considered the character that Mr Rickman has been creating throughout the 8 films. Unfortunately Academy awards doesn’t always work like that and to give something to an actor who only appears for a few minutes in a film (even though it has happened before) is something of a rarity. With 3 nominations this year, hopes are still high, but it will be rather shocking if even this film (arguably one of the best!) didn’t win anything.

12) Commedies

This is part of a never-ending debate at the Oscar: comedies very rarely get award recognitions, as if the genre isn’t to be taken seriously, or worse as if comedies were easier to make. That it probably one of the few good things about the Golden Globes, where awards are given to both comedies and dramas (though sometimes the line between them is very hard to define: is 50/50 a drama or a comedy? And what about the beautiful Beginners, incidentally another overlooked film at the Oscars this year). As any writer or director will be able to tell you, it’s a lot harder to make a smart comedy that is genuinely funny and feels fresh than a make people cry with one of those heavy-weight dramas, with period costumes or grand sets. However, once again comedies have been snubbed by the Academy in favours of those typical weepy (Extremely Loud & Incredibly Close being the worse offender). And so Bridesmaids got overlooked for the best feature film, and so did My Week with Marilyn, Crazy Stupid Love and of course50/50. Oh wait, what about Midnight in Paris? Well, Woody Allen seems to be the only person on the planet whose film can be nominated for an Oscar, even if it’s only half memorable

here’s the definitive list of all the biggest Oscar omissions and snubs.

Harry Potter and the Deathly Hallows Part 2 – Review

Harry Potter and the Deathly Hallows – Part 2 (2011)

Directed by David Yates. With Daniel Radcliffe, Emma Watson, Rupert Grint, Michael GambonRalph FiennesAlan RickmanJohn HurtHelena Bonham CarterTom FeltonJason Isaacs (hello!), Maggie SmithJim BroadbentDavid ThewlisRobbie ColtranGary Oldman.

(SOME SPOILERS AHEAD)

Watching this film in a packed theatre with some of the most excited audience I’ve ever had the pleasure to sit with, was as much part of the experience as the film itself. The tension was clearly palpable: cheers,laughter, sniffling and sobs from the crowd seemed to accompany the soundtrack all at the appropriate moments, and yet it was in the most intimate and quiet scenes where you could feel how much the audience was with this film: you could have heard a pin dropped for how quiet everybody was!

For many fans (and let me get this out now: I am one of them), this is much more than just another film in the franchise: it’s the it’s the end of an era, or simply  the end of a journey which lasted for over 10 years (14 if you count the first book, back in 1997).

There are no precedents like this in movie history (the closest thing it can be compared with is the end of a long-running TV series like Friends, for example). There’s a certain poignancy that comes with it, because, as we all know, this is the last one EVER. There will not be any other Harry Potter, no matter what.

The film clearly knows all that and consciously plays to it, tapping into our deepest-self, reminding us about this journey we’ve taken and how we’ve grown up with it. But we are certainly not alone: these films themselves seem to have grown up too: this isn’t your normal dull blockbuster like Transformers, with idiotic one-liner, explosion-galore and music plastered all over (I was actually surprised to see how much restrained the music was on this film, but just carefully used only when it was really needed), this is more of an emotional roller-coaster. It might not be completely appropriate for your average kid (some of the images are pretty strong and after a while I lost the count of how many dead bodies of students I saw…), but if you’ve seen the previous ones, you should be prepared for this too (and if you haven’t, I must ask: what on earth are you doing here?!).

The previously-unknown David Yates has slowly been able to find his own voice with the latest 4 of the 8 instalments, by combining the sense of magic the first 2 films had, the darker tone introduced to us by Afonso Cuaron (with the third episode) but also that more grown-up approach to the story, which has been brewing and growing with each chapter (and book of course).

In fact Yates has also been one of the bravest too, as he has found the courage to actually hack to pieces the overly-written source and actually make a better film (clearly after book 3, no editor would dare to tell JK Rowling to cut anything out). In this last “Deathly Hallow”, he was able to basically stretch the final battle over the course of the whole film, making it seem greater and more epic than it’s ever been in the book (In the end, box office aside, it really did pay off to split the movie in two parts).

Considering the incredible amount of expectations which a film like this can carry and, consequently, the almost impossible task of bringing everything to a close, HP 7.2  does a really good job! Yes, of course there will be some disappointed people, but I think the disappointment will come from the fact that secretly each of us would like this story to go on forever and, no matter what, you can never please everyone.

There are flashbacks and cameos from pretty much every single member of the cast from the previous instalments (I think only Kenneth Branagh was missing), some of whom are unfortunately relegated to just a couple of shots and a single line (there are time where you just wish they had a whole spin-off movie about Snape, as Alan Rickman deserves a lot more screen time). Maggie Smith however manages to make the most of her little screen time and makes up for the fact that she wasn’t around in previous “deathly hallow”. She most definitely steals the show with her “I’ve always wanted to do that spell” and with that smile that carried both pride and embarrassment at the same time, so cute that you just want to hug her and ask her to be your grandmother.

The film is a real feast for the eye. The special effects are the most detailed on any Harry Potter (fair enough it’s been 10 years since the first one!) and actually I have to confess the 3D conversion was probably one of the best one I’ve seen in a while and although it’s not quite the same as actually filming in 3D it makes me rather curious and hopeful for the forthcoming Star Wars saga.

Unfortunately nowadays we are so used to see big battles with thousands of CGI-rendered extras, that focussing on those alone would certainly lead to some disappointment. Once again the film knows this and decides to concentrate more on the emotional aspect of the story. Don’t get me wrong, the big action scenes are there (in fact, the whole film seems a big action scene!), but as a fan it’s the most emotional moments in the film that stick with you: the death of some of the characters, the overdue kiss, the flashback sequence with Snape and most crucially the moment where Harry is ready to go and die and says goodbye to his friends. I must confess that had be too. Credits to that trio of those not-so-kids-anymore (Radcliffe, Watson and Grint) who this time clearly show how much they have matured as actors.

Daniel Radcliffe is at his best here: he has a clear understanding of his character as his face shows not just the loss of innocence but also a deep maturity in the acceptance of his fate. Emma Watsons shines with a freshly newly acquired spontaneity: the moment where she kisses Ron is followed by a smile which feels so real that could almost be mistaken for an outtake. And obviously Rupert Grint who’s always been the best of them all and can now relax in his role of ice-breaker with his funny comments in the most tense situations.

As always, if there are faults in the film they are mainly to do with the original source itself and, in this particular case, with the overly long and convoluted plot. Still to this day I have some problems in telling you what a deathly hallow is what its purpose might be… and I am a fan who has actually read all the books and seen most of the films more than once!! I can only imagine what the average viewer will make of it). At some point I almost had no idea what was going on anymore as horcruxes, crowns, snakes and plot twists all got mixed up in my head. Did it matter? Not really… to a degree.

And yet, even though I knew that the stakes were high and I could follow the rough plot (well, I mean, it’s clear enough: good vs evil), I still couldn’t quite grasp exactly how could Voldemort be killed or how was Harry Potter able come back from the whited-out King’s Cross (In fact that was also the biggest let-down of the book as far as I am concerned: it would have made a lot more sense if Harry had died. What a brave and powerful ending that would have been).

On the whole the film is a success. It’s hard to see how it could have been better: it can be argued that some of that sense of magical wonder that some of the previous instalments had, was probably lost here, as it gave more space to its three main characters. The very final scene was unusually underwhelming for these types of films and is a clear example of that as it decided to concentrate more on the faces of our three main characters rather than letting itself go by showing us perhaps an aerial view of the Hogwarts Express leaving with a possible rousing them from John Williams. And yet, Spielberg did manage to do both things in ET, by giving us the unforgettable image of the spaceship leaving a rainbow-like trail but also finishing on a tight close up of Elliot’s face, thus creating on of the most emotional ending of any fantasy film ever!

But these are just small quibbles: either you go with the film or you don’t and I certainly did.

Considering what a massive commercial machine Warner Bros is we must be so thankful for the way the franchise has been handled (it makes me shiver to think that actually Spielberg wanted to shift it all to America… Thankfully somebody had the courage to tell him off for once). Producer David Heyman is obviously a man of heart, who cares for his fans and set out to make the best films he could ever make, playing on the strengths of its (let’s be honest) not-so-perfect source and in the end making it an even better product.

In the end this film must be judged with that same heart and not so much with the brain, taking in consideration the series as well as this ending.

And you know what? My heart can’t stop saying “I just loved the journey, thank you so much for it”.

8/10

 Read my review of Part one

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Harry Potter and the Deathly Hallows: part 1 – Review

Harry Potter and the Deathly Hallows: Part 1   (7.5/10)

Directed by David Yates. Starring Bill NighyEmma WatsonRichard Griffiths,Daniel RadcliffeJulie WaltersBonnie WrightRupert GrintAlan RickmanRalph FiennesHelena Bonham CarterJason Isaacs (hello), Tom FeltonTimothy SpallMichael GambonRobbie ColtraneBrendan GleesonJames PhelpsOliver PhelpsMark WilliamsDomhnall GleesonClémence PoésyJohn HurtDavid ThewlisRhys IfansImelda Staunton

(SOME SPOILERS AHEAD)

Right from the very start, when the Warner Bros logo appears, this film feels different. The colours are gray and muted, the sound is a low rumble and even the famous theme from John Williams seems to have given way to a much darker drone. It doesn’t even feel like a Harry Potter movie anymore. It makes the first Chris Columbus movies feel like they are from a whole different universe. And this feeling stayed with me right until the end…

For the last few instalments of the series (possibly from number 3 onwards) we’ve been hearing a lot of “this one is darker” type of lines being bantered about, whether from the critics, the fans or even the film-makers themselves. But it’s never been more true than in this final chapter.

And yet, this is not just a darker and scarier film, it is also a much more mature one too. It’s as if the film-makers have grown together with thier viewers (who are now 10 years older than they were when the first movie got released)

A few years ago, when we first heard about the fact that the seventh and final book was going to be divided into two films, we all cynically thought straight away: “They really want to squeeze every single penny out of this last one, those greedy people”.  And I am sure that must have been one of the reasons, however director David Yates has been able to take advantage of this extra time to give the story a certain amount of depth, sophistication and gravitas that was missing from all the previous instalments.

The pace is a lot slower, for a start. Of course, you get some cracking action scenes too (a particular good one through the Dartfor Tunnel), some great visuals, whether just the perfect vistas and landscapes, the inventive special effects (the scene, in the trailer too,  where there are about 8 different Potters, is all done in one perfect 360 degree shot) and there’s even a beautiful short animation sequence (where “The Tale of the Three Brothers”, is shown as a shadow-play and that by itself should almost be nominated for an Oscar for BEST animated short), but the real core of the movie this time are actually the 3 main characters. Their dialogue scenes take centre stage and are played in the most realistic possible way, with long silences, pauses and meaningful looks.

Even the music is a lot more subtle and understated, aside from being of course a lot darker. There’s a particular chase scene in a forest towards the second half of the movie, where unexpectedly, they decided not to play any music at all, just letting the sound effects play through: that is very very unusual for a blockbuster of this calibre.

The film bravely takes a lot of risks, on one hand, by veering away from what kids are probably expecting, but at the same time it’ll give fans a real treat (and it might even change the minds of some of those Harry Potter haters)! It is a film about emotions, about characters, about friendship first and foremost and it all happens to take place in a magical world. It’s what every single avid Harry Potter reader has been waiting for years.

In a way, the mood of the film is much closer to the Lord of the Rings trilogy, not just in the muted colors of the landscape, or in the grittier looks of the characters (even Harry Potter looks dirtier this time and has even got a bit of a beard!), but in the way it’s paced and constructed.

It’s essentially a road movie (it’s also the first film to be Hogward-free. We only get one quick glimpse of the train going to the school, but that’s about it). There are much fewer laughs throughout and most of them come from Ron (Rupert Grint), but somehow when they do come, they seem to work a lot better than they ever did. Maybe because the whole film is so tense that you are  just craving for a moment to relax let the tension fade. And this is by no means a criticism, in fact, quite the opposite.

The film starts with a perfectly pitched montage scene where we see all the various characters leaving their homes and getting ready to meet. The soundtrack at this point seems to be straight our of one of the Bourne movies, or the recent Batman films by Christopher Nolan. There’s an uneasy tension running all the way through, which just makes you very uncomfortable (and I mean that as a compliment). That feeling somehow permeates the rest of the movie too.

We then cut to a scene where Voldemort, his Death Eaters & Co are all sitting around a table. Floating above them, the body of one of their young victim. Blood dripping from her face, her head bent backwards… This feels almost like the exorcist more than Harry  Potter!

Don’t take me wrong. Kids will be terrified, but will most likely love it too (after all, kids love to get scared… Or at least I used to!).

By all means, this isn’t a masterpiece. For all the tension, the great atmosphere and all the brave intentions, there are some slightly clunky moments here and there too. For example the scene where Ron comes back and rejoins the group, feels a bit “out of the blue” and could have been handled in a better way. Also some of the dialogue doesn’t quite ring true and too many characters come in and out like bell-boys in a hotel. But it’s interesting to notice how most of the stuff that doesn’t quite work in the film, has actually been lifted straight from the books. I think once again the film exposes the weaknesses of the book (which c’mon let’s face it, however gripping, it wasn’t really a great piece of writing. I loved it, in fact I loved the whole series, but I recognize its limits).

The acting from the three main characters still feels a bit dodgy from time to time. They all really try their best: Emma Watson is the best she’s ever been (sadly that doesn’t really mean a lot) and though she even manages to shed a tear at some point, most of her lines fall pretty flat. Daniel Radcliffe does his usual thing where he seems to act with all his body, except his eyes (he seems to like to show tension by stretching his whole body forward) and finally Rupert Grint, who seems to have gained a bit too much weight, but he’s still the best of the three and also he has the best lines. However there’s a good chemistry between all of them. Clearly having worked together for so many films has created a bond between them: some of that shows in the film too.

It is also a real joy to see so many of the other old characters back, even if most of them are around for just for one scene. This series has now officially become the “who’s who” of British Cinema (I was a bit sad that Maggie Smith was not around for this one, but as all the people who have read the book know, she’ll be back in the next one, in style!)

So on the whole, the film deserves a lot of respect for taking brave decisions which are probably going against your typical Hollywood blockbuster, let alone a Harry Potter movie. Mind you, it’s easier to be brave when you have something like this in your hands, this was always going to be a winner with the public! Now it might probably get some new fans from those picky critics out there.

Anyway, it’s good to see them trying something different. It’s good to see them slowing down a bit and taking good care of their characters. It’s good to see them trying to be more mature and stir away from cheesy cliches. I can see why this is JK Rowling’s favorite movie.

I was happy with it too… but then again, I love Harry Potter, so I am probably biased.

Summer 2011 cannot be here soon enough. And after that? Oh dear, I am already so sad that it’s all going to be over…

7.5/10

PS. If you liked this review, leave us a message.

My letter published on the Evening Standard

Check out my little email that got published on the Evening Standard about the BAFTA Awards

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