Here then, in reverse order, is how I rank the films… 8. Not too shabby, considering they didn’t have to be that good. None of the films manage to combine these discrepancies perfectly, and none are classic movies, but as one whole story they’re an impressive and influential piece of filmmaking that utilised and created a whole lot of love on both sides of the camera. The fact that these two elements are present leads to some tonally jarring moments, and being so silly severely dents the credibility of the story’s bad guys. When a non-wizard family is killed off-screen, it convinces Hermione to wipe her parents’ memories of her to keep them safe. At the Battle of Hogwarts they set fire to the Quidditch arena even though there’s no one there). While there is spectacle in these movies, it usually involves Death Eater attacks on unmanned architecture (Death Eaters are obsessed with this. Death isn’t just relegated to the background it’s dealt out at regular intervals and makes an impact. It’s best not to take it too seriously.ĭespite being intrinsically daft, though, these stories also depict death as a bigger deal than many other blockbusters. I find it very endearing that teenage Voldemort spent hours working out an evil-sounding anagram of his name, that Ginny Weasley learned to flirt by watching Ace in classic Doctor Who episode The Curse Of Fenric, and the killing curse scans quite well with “’ave a banana.” Wizard schools apparently greet each other with performance art pieces, don’t teach English, maths or sex education classes, have inconsistent geography and maintain a house cup system that is clearly open to abuse. Not the ostentatious quirkiness, which varies in quality, but the sheer daftness of the situation. The main reason I like these films is that they’re inherently silly.
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