Next Goal Wins

In cinemas now

Taika Waititi knows how to please a crowd, but his latest feature feels like a pastiche of his prior work that, despite its best intentions, fails to demand an emotional reaction from its audience. Granted, the afterthought vibe that pervades Next Goal Wins may be resultant of the film’s COVID-induced delay, but that’s not the only reason for it failing to sizzle.

Although I haven’t seen Mike Brett and Steve Jamison’s critically-acclaimed documentary on which this picture is based, I can imagine it probably did a better job of capturing the curious tale of Dutch-American coach Thomas Rongen’s attempts to help the hapless American Samoa football team qualify for the 2014 World Cup.

That’s because the competing narratives of Next Goal Wins do not lend themselves well to Waititi’s offbeat style, which works better when focused on a set of quirky protagonists and a supporting cast of affable oddballs. Here, the character of Rongen (played by a game but miscast Michael Fassbender) is far from the most interesting, with the story of Jaiyah Saelua (Kaimana), the first openly non-binary and trans woman to compete in a World Cup qualifier, making for a much more engaging and timely tale.

Sadly, Waititi’s approach to that arc is generally pretty trivial, with the film mostly focusing on the hot-headed Rongen’s unconventional coaching techniques and half-arsed attempts to assimilate himself into American Samoa culture, which renders Next Goal Wins a pretty forgettable watch.

Classic Christmas Review #8: Home Alone and Home Alone 2: Lost in New York

Available on Disney+

Perhaps, in some alternative universe, there is a gritty, uber-realistic version of the Home Alone films where the unusually resourceful Kevin McCallister (Macaulay Culkin) murders or, at the very least, disables Joe Pesci and Daniel Stern’s hapless robbers. Thankfully, the cuts we have of both Home Alone and Home Alone 2: Lost in New York are altogether more innocent affairs which continue to provide laughs aplenty throughout the holiday season.

Of the two, the original best captures the ingenuity of John Hughes’ original premise, in which the aforementioned Kevin must think of weird and wonderful ways to defend both his home and himself from Pesci and Stern’s ne'er-do-wells, all while his incredibly forgetful/awful family holiday without him. Its successor does have the benefit of Tim Curry’s addition to the supporting cast as the world’s most nosy maître d, but is mostly a safe rehash of what comes before it.

Whatever your preference, it’s hard to deny the charm of these first two instalments in the Home Alone franchise, nor the rare prowess of a fledgling Culkin, whose talents have sadly since gone untapped.

Classic Christmas Review #7: It’s a Wonderful Life

In selected cinemas and available on Amazon Prime

Frank Capra’s ageless classic remains the best A Christmas Carol rip off you'll ever see, thanks to the vital message at its core and James Stewart’s affecting lead performance, which gets you in your feels like few other Yuletide turns. After initially bombing at the box office, It’s a Wonderful Life has enjoyed a new lease of life and belatedly become arguably the definitive festive film, a moving fable about the importance of community and never taking life for granted. It’s a picture that everyone really ought to see at least once, and the perfect companion for this special time of year.

Maestro

In selected cinemas and available on Netflix

Bradley Cooper’s Maestro isn’t the most groundbreaking film you’ll see this year. In fact, cineastes who have grown tired of the ‘prestige biopic’ may find this leisurely paced picture not to their tastes, as it possesses almost all of the hallmarks one might associate with such a film. Nonetheless, you cannot deny Cooper’s ambition as a director, which sees him here take on a project that is altogether different from his crowd-pleasing debut A Star is Born, nor can you fault the quality of acting that is on display from both him and his co-star, the irrepressibly talented Carey Mulligan.

Framed in gorgeous monochrome by Matthew Libatique, Maestro recounts the life of American composer Leonard Bernstein (Cooper) through the lens of his complicated marriage to Felicia Montealegre (Mulligan), a relationship that was built on loving foundations but made complex by the sexual proclivities of the former. In that sense, it is not entirely dissimilar to Ira Sachs’ Passages, another excellent film from this year which also explored the emotional toll of allowing a prodigious artist to indulge their fleeting desires.

Cooper and co-writer Josh Singer do not thoroughly examine the duality of Bernstein’s life as an openly gay man living within the confines of a seemingly idyllic hetrosexual existence, which does makes Maestro something of a missed opportunity. However, in choosing to focus their narrative on the relationship between Bernstein and Montealegre, they elicit one of the year’s standout performances from Mulligan, who reaches another level of dramatic eminence with a turn that oscillates from being quietly affecting to utterly devastating. On this evidence, she must be a strong contender to sweep up when the awards season commences.

Cooper is also often mesmerising as Bernstein, particularly in the film’s conducting sequences, which evokes memories of Whiplash by making the act of playing music seem like the exhilarating high-wire act that only the most accomplished of players would know it to be. With the late composer’s music providing the film with its score, this is a fitting tribute to the life and times of a contradictory figure and his rare talent.

Classic Christmas Review #6: The Muppet Christmas Carol

In selected cinemas and available on Disney+

The fact that I can recall virtually every line of dialogue in The Muppet Christmas Carol is testament to the timeless magic at its core. Whether it’s Gonzo the Great standing in for Charles Dickens on narrating duties, the enduring musical numbers, or Michael Caine’s unrivalled performance as the humbugging harbinger of doom Ebenezer Scrooge, there’s something for all the family to enjoy. Commendably, Brian Henson’s film follows Dickens’ original story closely, ensuring that the moral lessons at that classic’s core are carried through to this adaptation, making this a peak Muppet classic and my personal all-time festive favourite.

Chicken Run: Dawn of the Nugget

Available in selected cinemas and on Netflix

It’s been 23 years since the original Chicken Run delighted audiences and, although the reason for that absence is chiefly down to the toll the first film took on its creators, it’s questionable whether a sequel was ever warranted. That’s at least on the evidence of this expensive Netflix reboot, which is certainly ambitious enough from a production perspective but, narratively speaking, leaves a lot to be desired.

Although the writer of the original film, Karey Kirkpatrick, is on board, the rural, working-class charm of that picture is mostly lacking from this glitzier successor, with many of the previous voice cast (including star Julia Sawalha) swapped out for younger actors that, through no fault of their own, bring little new to proceedings. Dawn of the Nugget also cheekily leans into the vegetarian/vegan allegory that was apparent in the preceding film, although the extent to which it does so may alienate the more carnivorous elements of its audience (put simply, if you don’t want your children to ask what’s in their McNuggets, maybe pass on this).

While its title is ingenious and premise mostly sound, Dawn of the Nugget feels creatively redundant for the most part, with the majority of its laughs and set pieces being the result of uninspired rehashes of lines or moments from the previous film. Granted, as a bit of festive family fun it works well enough, but Aardman can and have done much better.

Wonka

In cinemas now

It’s unsurprising that, after their Paddington 2 exploits, Paul King and Simon Farnaby are now perceived as two of Hollywood’s go-to men when a studio is looking to breathe life into a dormant property. That is clearly the thinking behind Wonka, the origin story of Roald Dahl’s eccentric chocolatier, which has more than a touch of Paddington about it, be it its witty dialogue, arresting visual palette, or ensemble cast of (predominantly British) thespians.

Timothée Chalamet is tasked with donning the deep purple overcoat that Gene Wilder originally made famous and, awkwardly, isn’t the best thing about this film. Despite being a self-proclaimed ‘song and dance man’, Chalamet doesn’t entirely excel in a zanier role that is far removed from the more dramatic material that, along with his boyish good looks, has made him a household name, although he undeniably looks the part and isn’t helped much by Neil Hannon of the Divine Comedy’s rather forgettable musical numbers.

More impressive is relative newcomer Calah Lane, who pretty much steals the show as Noodle, an orphan who befriends our titular protagonist and, along with a rogue’s gallery of compadres, help him make his fortune.

Like any classic Dahl tale, the villains of Wonka are also mightily good fun, with Paterson Joseph, Matt Lucas, and Mathew Baynton providing plenty of laughs as the dastardly chocolate cabal who attempts to thwart the heroes’ progress. Olivia Colman and Tom Davis are also good value as the wicked proprietors of a boarding house with rather onerous terms of stay.

This is without mentioning Hugh Grant’s performance as an Oompa-Loompa, which frankly has to be seen to be believed.

All in all, Wonka is a perfectly fine family flick that perhaps benefits most from its timely scheduling, which is idyllic for this time of year.

Classic Christmas Review #5: Paddington & Paddington 2

Available on Netflix

My love for Paul King’s cinematic adaptation of Michael Bond’s cherished Paddington Bear stories has increased tenfold since I realised that its titular hero has an uncanny resemblance to Ted, my Staffordshire Bull Terrier. Nonetheless, both of these films are outstanding in their own right.

Paddington is quintessential British fun from start to finish, a kids film that manages to avoid the smorgasbord of drudgery that is largely synonymous with similar endeavours. Slapstick humour and witticisms can be found in equal measure throughout the duration of King's film and are delivered with aplomb by a fantastic ensemble cast which is helmed, of course, by Paddington (Ben Whishaw) himself, who proves to be an astute choice to voice the UK's favourite mammal. Only someone with a heart made of granite could not be cheered by the sight of this amiable bear navigating the sights and sounds of London, gaining friends and, most importantly, family along the way.

However, as joyous as that maiden voyage might be, Paddington 2 is where this franchise truly excels. While it matches the heart-warming charm and irresistible humour of its predecessor, it betters it from a stylistic perspective, with the broad palette of colours used by cinematographer Erik Wilson and co. creating an aesthetic not entirely dissimilar to Wes Anderson's signature tone. Narratively, King and co-writer Simon Farnaby pit their hero against a nefarious and unapologetically hammy villain that elicits an arguably career-best turn from Hugh Grant, who provides adult viewers with almost all of the laughs via a brilliantly self-aware performance. The screenplay does a great job of advancing the returning characters’ arcs, with Paddington further earning the affections of his audience by coyly showing the folly of anti-immigrant rhetoric and virtue of inclusivity.

Truly, this is all anyone could ever want from a family film - laughs aplenty, an engaging and educational story, and unwavering cultural attune. I cannot wait for the third instalment.

Classic Christmas Review #4: The Holiday

Available on Netflix

Nancy Meyers’ exceptionally cosy Christmas flick straddles the line between being irreparably schmaltzy and endearingly well-meaning, but ends up on the right side of the fence due to the undeniable chemistry that is shared between its ensemble cast.

Although her character is a hopeless cringelord for the most part, Kate Winslet’s quintessentially British brand of comedic and dramatic excellence carries much of The Holiday, with the palpable allure of Cameron Diaz and Jude Law, arguably the definitive pin-ups of this cinematic era, and goofy appeal of Jack Black also assisting proceedings. Eli Wallach is also pretty stellar in his supporting role, albeit in a similar vein to that of an affable Disney/Pixar character.

Although it is, at two-hours and 18 minutes, needlessly overlong and utterly predictable from a narrative standpoint, The Holiday’s mass appeal is evidenced by its staggering commercial success (which saw it gross over $205 million worldwide against a budget of $85 million) and longevity as a festive favourite for romcom enthusiasts and appeasing partners the world over.

Leave the World Behind

Available on Netflix

An air of intrigue pervades Sam Esmail’s Netflix thriller, in which Julia Robert and Ethan Hawke’s idyllic family getaway is interrupted by a father (Mahershala Ali) and his daughter (Myha'la) bearing news of a blackout, the cause of which is unknown. Unfortunately, Esmail’s adaptation of Rumaan Alam’s novel does not entirely capitalise on its curious premise, although it is, for the most part, an effective imagining of humanity’s end time.

The game performance of Leave the World Behind’s cast is certainly a big reason for that, although Robert’s turn as a hopelessly cynical and delightfully passive aggressive Karen undoubtedly steals the show. Esmail and cinematographer Tod Campbell, as well as their production team, also lend the picture a chic sheen that differentiates it from what audiences might typically expect from other features of a similar tone.

However, while Leave the World Behind casually explores narrative undertones such as our universal overreliance on technology, it ultimately suffers from the same shortcomings as many other apocalyptic features, which is a lack of dramatic payoff. Esmail builds suspense effectively over the course of a gratuitous two-hour plus runtime, but the final act serves as little more than a misanthropic ‘eat the rich’ epitaph that is yawningly familiar by this point.

While this anticlimactic conclusion does not sully what came before it, you do sign off from Leave the World Behind with a slight sense of unfulfillment, which is a shame given the abundance of talent involved.

Renaissance: A Film by Beyoncé

In cinemas now

There have been many great artists in the annals of human history, but only the cultural impact of a select few can be charted across multiple decades. Beyoncé is one such artist. As she coolly reminds her enthralled audience at the beginning of this concert film, she’s been plying her trade since 1997. Since then, she has won more Grammy (32), MTV Music Video (26), NAACP Image (24), BET (35), and Soul Train Music (17) awards than any other musician.

However, this cinematic retelling of the conception, production, and jubilant execution of the 2023 Renaissance world tour underlines that legacy more emphatically than perhaps any of her preceding output. That’s partly because it is a celebration of her titular seventh studio album, which simultaneously served as an artistic rebirth and a tribute to inclusive sub-cultures such as post-1970s dance music and ballroom.

Renaissance is also a candid and, at times, intimate insight into its usually guarded subject, specifically the motivations that drive her to continue performing. Over the course of the film, Beyoncé openly discusses her obsessive creative process, how she balances being a businesswoman, mother, and performer, and the myriad of influences and traumas that inspire her work. All of this serves as a rare and rewarding insight into the mindset of a once-in-a-generation star, with the exhilarating concert footage underpinning that assertion further.

Equally rewarding is the way in which Renaissance reiterates music’s unparalleled ability to unite people from all walks of life and provide them with a safe and accepting place to cry, dance, laugh, and sing in equal measure. That is a unifying quality that can be found in seldom other places, and credit must go to Beyoncé (who wrote, directed, and produced this picture) and her creative entourage for encapsulating that through a medium that is altogether different to their chosen field.

With Renaissance currently posting as the eighth highest-grossing tour of all time, the second highest-grossing tour ever by a female artist, and the highest-grossing tour by a black artist, it would take the most blinkered of critics to deny Beyoncé her flowers at this point in her career. This is a crowning moment for one of the most essential and empowering performers of any generation, and a guaranteed good time that is more than worth the price of admission.

Classic Review #56: Harry Potter and the Deathly Hallows: Parts 1 & 2

Available on Netflix

It’s intriguing to evaluate the immense culmination of the Harry Potter franchise in tandem with its altogether more innocent first instalment. By the time the second half of the Deathly Hallows comes around, you are under no illusion that the days of fledgling wizards bonding whilst in the company of chocolate frogs are long gone.

Such a stark tonal shift poses something of a conundrum for director David Yates and screenwriter Steve Kloves, who are tasked with delivering a finale that is suitably high-stake but also true to the series as a whole. Whether you believe they manage to do either successfully is a matter of personal opinion, but I’m inclined to give Yates and Kloves props for their efforts on the first of those assignments more so than the latter.

Part two of the Deathly Hallows certainly has all the characteristics of what we’ve come to expect from a blockbuster epic - an operatic battle between good and evil, shocking narrative twists and, of course, an excessive use of CGI. While the actual plot of J.K. Rowling’s final novel is contentious (particularly the inexplicable Christ-like resurrection of a certain character), you cannot argue with the pace of Yates’ finale and, in particular, the performances of veteran cast members such as Alan Rickman, Maggie Smith, and Ralph Fiennes.

Such a bombastic conclusion is perhaps all the more necessary on account of the Deathly Hallows’ first instalment being as utterly forgettable as it is. The aforementioned tonal shifts of the Harry Potter franchise are typically most welcome, but this film veers rather wildly off track, it essentially being a near two-and-a-half-hour road movie whose only dramatic payoff is the death of a seldom seen, exhaustingly annoying animated character who is inserted into proceedings for no discernible reason. The only positive thing to be gleaned from this dreary picture is the dramatic turns of Emma Watson and Rupert Grint, who both revel in the responsibility of their characters’ being something other than Harry’s steadfast sidekicks.

All in all, this is a denouement that is likely to delight Potter die-hards and, at best, placate less partisan viewers.

Classic Christmas Review #3: Elf

In selected cinemas and available on Sky Cinema

Jon Favreau’s festive favourite has lost none of its charm, even 20 years on from its original release. That’s chiefly because Elf, written by David Berenbaum, understands that at the core of any genuinely great Christmas film is authenticity and heart, which here are characterised by Will Ferrell’s now-iconic turn as Buddy the Elf.

In a vein not dissimilar to Jim Carrey’s scene-chewing turn in How the Grinch Stole Christmas, Ferrell is at the centre of everything great about this picture, churning out iconic one-liners with an ease afforded to only the most competent of comics. However, unlike Ron Howard’s aforementioned picture, Elf boasts a stellar supporting cast that includes James Caan, Zooey Deschanel, Mary Steenburgen, Ed Asner, and Bob Newhart, all who individually contribute plenty to proceedings.

Favreau’s directorial approach also distinguishes Elf through the intermittent use of forced perspective and stop motion (as opposed to CGI), while Berenbaum’s screenplay also has the distinction of not lifting and shifting the lion’s share of its narrative from Charles Dickens’ A Christmas Carol. Instead, the story we are treated to here, while not wholly original, is more about the unique sense of joy and togetherness that is associated with this time of year.

Subsequently, Elf is one of those rare treasures that fills your heart with each and every watch.

Classic Christmas Review #2: How the Grinch Stole Christmas

Available on Netflix

Ron Howard’s adaptation of Dr. Seuss’ cherished children’s book has perhaps benefited more from the algorithmic world of social media than any other Christmas film. That’s because the initial critical indifference How the Grinch Stole Christmas was greeted by has been replaced by an annual month-long stranglehold on Netflix’s top 10 list that is doubtlessly inspired by the bitesize reels of Jim Carrey’s titular anti-hero that do the rounds on Instagram and TikTok at this time of year.

Indeed, Howard’s film is an unashamed vessel for its leading man to indulge in his signature brand of tomfoolery, which is probably just as well, given that Carrey was allegedly paid a handsome $20m to play the role. Subsequently, one’s enjoyment of this Yuletide tale of seasonal cynicism turned on its head is likely to be determined by your appetite for the actor’s rambunctious shtick, although it’s hard to argue with the generally held view that he occupied the zenith of mainstream comedy at the time of its release.

With the incomparable Anthony Hopkins also on narration duty, this festive flick has enough up its sleeve to continue to appease the masses.

Christmas Classic Review #1: Love Actually

In selected cinemas and available on NOW TV & Sky Cinema

I have two trains of thought when it comes to Richard Curtis’ ensemble hit Love Actually. On one hand, it is a highly effective slice of festive sentimentality that features some of the UK’s finest thespians, with particularly memorable performances from Alan Rickman, Bill Nighy, Emma Thompson, and Hugh Grant.

Some of the film’s best remembered scenes are truly ones to savour; take, for example, the moment Nighy’s ageing and bad-mannered rock star desecrates a picture of Noughties pop band Blue while on national television. Or Grant’s chaotic Prime Minister and his iconic dad dancing around the halls of 10 Downing Street. Not to mention Rickman’s cantankerous interaction with Rowan Atkinson’s overzealous shop attendant.

All are genuine laugh-out-loud moments and befitting of Curtis’ quintessentially British brand of comedy (assuming, of course, that your immediate definition of ‘quintessentially British’ is unrelatable and improbably wealthy upper-to-middle-class people). Unfortunately, they do not add up to a compelling whole, with Love Actually’s glaringly obvious flaws more commonplace than the fleeting moments of joy it affords its audience.

In particular, Curtis’ complete indifference to virtually all of his story’s female characters (the film especially wastes the generational talents of Thompson and Laura Linney) and slightly troubling tendency to make them putty in the hands of emotionally incompetent, middle-aged white men is a tonal feature that has not aged well. Nor has the film’s admittedly less frequent moments of body shaming or crass sexualisation.

One might argue, however, that this is very much Curtis’ modus operandi as a writer-director - an incoherent, barely believable central narrative that is outshone by grandiose moments of heart-warming schmaltz, delivered by a cast that you can very much file under the ‘best of British’. Consequently, Love Actually remains a firm festive favourite, but far removed from the genuine classics that lie amongst its seasonal counterparts.

Classic Review #55: Harry Potter and the Half-Blood Prince

Available on Netflix

The Harry Potter franchise had its Game of Thrones moment with its sixth instalment, courtesy of a genuinely shocking finale which sees one of its major characters felled by a surprising assailant. In that sense, David Yates’ film continues the more mature tone that was introduced at the end of Goblet of Fire and throughout Order of the Phoenix, although the Half-Blood Prince does possess its fair share of twee moments, which may or may not be a result of Steve Kloves’ return as screenwriter after a one-film hiatus.

As a result of this, the Half-Blood Prince does at times suffer from an identity crisis, with its hotchpotch of themes incorporating Lord Voldermort’s origin story and, almost in the same breath, the romantic trysts of Hogwarts’ increasingly hormonal students. Whereas its predecessor settled on, and indeed revelled in, a darker mood, this film at times has the air of a difficult second album that is trying to appeal to fans on either side of the fence.

Nonetheless, there is more to like about the Half-Blood Prince than there is dislike. Nicholas Hooper’s score is arguably a series highlight, the visual effects are a triumph, and Bruno Delbonnel’s almost monochromatic cinematography is stellar. That’s not to mention the triumphant performance of Michael Gambon as Albus Dumbledore, which just about manages to upstage Jim Broadbent’s equally grand turn as Horace Slughorn.

The Killer

Available on Netflix

If you were going to pick an actor and director to helm an adaptation of a noirish graphic novel series about a philosophical hitman, then Michael Fassbender and David Fincher would probably be near the top of your list.

It’s genuinely shocking therefore to discover that Netflix’s highly anticipated The Killer is one of the year’s most arduous films. Fincher and Seven screenwriter Andrew Kevin Walker split their story over six chapters, each of which see Fassbender’s titular anti-hero deal with the bloody fallout of a hit gone wrong. Throughout, the monotonous protagonist delivers a never-ending monologue about the moral complexities of his line of work, a trait that the aforementioned director assumedly deems intelligent, but is actually just incredibly grating.

Equally grinding is The Killer’s soundtrack, which is composed almost entirely of The Smiths tracks. Even to a die-hard fan such as myself, this gimmick feels like a creative choice befitting a juvenile film student, rather than a bonafide auteur such as Fincher. It’s one of many puzzling features that sound cool on paper but ultimately don't come together on screen, a claim that could arguably be made about Fassbender’s lead performance. As welcome as it is to see the Irish actor back on our screens, this dreary turn is far removed from the standards we’ve come to expect from him.

Other viewers may find greater value in The Killer but this one found it, to paraphrase the words of its musical inspiration, a crashing bore.

Saltburn

In cinemas now

With her delightfully acerbic directorial debut, Promising Young Woman, Emerald Fennell established herself as a writer-director of considerable substance, with that empowering feature striking a chord with audiences in the wake of the #MeToo movement. As is the case with any fledgling cinematic voice, her follow-up was always likely to incite interest, and the debauched Saltburn certainly takes advantage of that.

Helmed by men of the moment Barry Keoghan and Jacob Elordi, Fennell’s darkly comic psychological thriller follows Oxford scholar Oliver (Keoghan) in his pursuit of a more assured and outrageously affluent classmate (Elordi), a hunt that eventually leads him to the country estate from which the film lends its name. Keoghan and Elordi are typically effective in the lead roles, although they are both outshone by outrageous supporting turns from Richard E. Grant and Rosamund Pike.

However, the issue with Saltburn is that, for all its brazen excess and depravity, it feels overwhelmingly familiar, almost to the point where you could it label it as ‘The Talented Mr. Ripley with added homoeroticism’. Viewers who proudly identify that as being their bag will more than likely have a riotous time with Fennell’s film, others not so much. It’s also hard to escape the nagging sense that Fennell, the daughter of a jewellery designer and author and a former Oxford student, is perhaps not best positioned to perform a character assassination of those who follow a lifestyle that is presumably not dissimilar to her own.

Unfortunately, these issues overshadow what is otherwise a visually arresting (Linus Sandgren’s cinematographer work is stellar) and splendidly acted affair.

Classic Review #54: Harry Potter and the Order of the Phoenix

Available on Netflix

David Yates made a decisive arrival to the directorial chair of the Harry Potter series with its fifth instalment, Order of the Phoenix, which proved to be a spot he never relinquished. Much of that is due to the impression he made with this film, which had the good fortune of following the bloated Goblet of Fire but nonetheless distinguishes itself via its more adult tone, with underlying themes include political interference in educational matters, ensuing teen rebellion, and the way our perception of events is shaped by the media.

Given that Yates directed the critically acclaimed political series State of Play, it is perhaps not a surprise that both he and screenwriter Michael Goldenberg (here standing in for series stalwart Steve Kloves) are able to balance such everyday themes with J.K. Rowling’s altogether more magical world, but it remains an impressive feat all the same. The introduction of Slawomir Idziak as director of photography also coincides with the Order of the Phoenix being an aesthetically richer film than its predecessor, although the escalating stakes of the series means there is still a need for a plethora of visual effects, with over 1,400 of them shot on this occasion.

Equally as impressive is Daniel Radcliffe, who gives his most dramatically powerful performance as the titular protagonist, excelling in a more challenging role that sees him juggle the responsibilities of facing his fears and assuming a leadership role amongst his peers. That being said, he is almost upstaged by Imelda Staunton’s deliciously villainous performance as Ministry of Magic stooge Dolores Umbridge, with Evanna Lynch and Helena Bonham-Carter also making memorable debuts as Luna Lovegood and Bellatrix Lestrange respectively.

Indeed, it’s arguable that the Order of the Phoenix doesn’t receive the credit it deserves amongst series devotees, it being a far more engrossing affair than the majority of what came before it.

Classic Review #53: Harry Potter and the Goblet of Fire

Available on Netflix

After the series high-point that was Prisoner of Azkaban, Mike Newell’s Goblet of Fire feels like an overwrought misstep for the most part. While adapting the 636-page book could rightfully be construed as being an admittedly unenviable task, Steve Kloves’ screenplay feels like an unwelcome shift from the more humanistic and mature tone that distinguished Alfonso Cuaron’s predecessor.

Focusing mostly on the participation of Harry Potter (Daniel Radcliffe) in the preposterously dangerous Triwizard Tournament, the film is bogged down by its overreliance on CGI, while the gimmicky premise of J.K. Rowling’s novel contributes to it being overstuffed with ‘blockbuster’ action sequences that see the protagonist duel with dragons, mermaids, and an improbably windy hedge maze.

On the positive side, Newell (of Four Weddings and a Funeral fame) does bring his penchant for sardonic British wit to proceedings, which enables Radcliffe (who has since proven himself to be a deft comedian) to deliver a lead performance that is far less constrained than his earlier efforts. There are also some memorable supporting turns from Brendan Gleeson, who plays the acerbic Mad-Eye Moody, and Robert Pattinson, who shines in the unfortunately short-lived role of Cedric Diggory.

However, Gleeson and Pattinson’s efforts are not as vital as those of Ralph Fiennes, whose belated debut as the returning Lord Voldermort essentially saves the Goblet of Fire from being an unfortunate slog. The list of memorable cinematic villains is long and varied, but Fiennes’ performance as the menacingly theatrical dark wizard is certainly the equal of many. With his antagonist finally in play, the Goblet of Fire can at least have the distinction of being the Harry Potter film that sets up its engrossing home run.