July 11, 2011 at 11:10 pm #34579
Daniel Radcliffe, Rupert Grint and
THE HOLLYWOOD REPORTER
Harry Potter and the Deathly Hallows Part 2: Film Review6:15 PM 7/6/2011 by Todd McCarthy401Warner Bros.
Emma Watson finish a 10-year journey with “The Deathly Hallows Part 2,” directed by David Yates.
It ends well. After eight films in 10 years and a cumulative global box-office take of more than $6.3 billion, the most successful franchise in the history of movies comes to an obligatory — and quite satisfying — conclusion in Harry Potter and the Deathly Hallows Part 2. Fully justifying the decision, once thought purely mercenary, of splitting J.K. Rowling‘s final book into two parts, this is an exciting and, to put it mildly, massively eventful finale that will grip and greatly please anyone who has been at all a fan of the series up to now. If ever there was a sure thing commercially, this stout farewell is it.our editor recommends
It has been an extraordinary run, really, marked by careful planning as well as very good luck. When some quick shots at the end remind how incredibly young Daniel Radcliffe, Rupert Grint and Emma Watson were when this all started, one marvels that they’ve all grown up to be as physically plausible for the roles and sufficiently talented as they have. With a parade of wonderful British actors filling exceedingly vivid parts, casting has been the series’ most consistently strong suit throughout; remarkably, only one major actor, Richard Harris, died over the course of the decade, and he was undisruptively replaced by Michael Gambon (though regret still lingers that Peter O’Toole wasn’t cast as Dumbledore in the first place; was it thought he wouldn’t survive this long?).
After Chris Columbus launched the franchise capably but with less than dazzling flair, producer David Heyman smartly chose Alfonso Cuaron and Mike Newell to stage the next two –the best of the series artistically — then settled on TV director David Yates for the long march to the end. Initially working in what seemed too straightforward and briskly efficient a manner, Yates has finally come into his own in this last installment, orchestrating a massive chessboard of events with impressive finesse and a stronger sense of dramatic composition than he has previously displayed.
But perhaps the key player all along has been screenwriter Steve Kloves, who made what must have been a vexing decision to put a promising directorial career on hold for more than a decade to write all but one of the Potter episodes (though confessing exhaustion and the need of a break, he later expressed regret over not adapting The Order of the Phoenix). Tricky in that so many characters, including quite a few from the past, needed to be shuffled into the dramatic deck without sacrificing forward momentum, this final chapter suggests an even greater-than-usual attention to narrative balance and refinement. Simply put, it’s clear the filmmakers felt the responsibility to do this job right, and that they have. [See what other critics have to say about the movie here.]
Of course, Deathly Hallows Part 2 is all about the final confrontation between Harry and Voldemort, the ultimate showdown between good and evil, the climax the entire series has built toward from the beginning. With Voldemort wielding the coveted Elder Wand with blinding power even before the Warner Bros. logo appears onscreen, Harry, Ron and Hermione at the outset are still in the wilderness, commanded to find and destroy four remaining Horcruxes (all of which contain fractions of the Dark Lord’s soul) and obliged to make a deal with disagreeable goblin Griphook (Warwick Davis) to gain access to Bellatrix Lestrange’s bank vault, where one Horcrux might be hidden.
The subsequent break-in involves a wonderful charade in which Hermione disguises herself as Bellatrix (some amusing work from Helena Bonham Carter here) but also a roller-coaster ride that feels like a prototype for a theme-park attraction. This sequence also calls attention to the fact that, after an aborted effort on the previous installment, this is the first Harry Potter film to be released in 3D. Those with a purist streak will probably wish Warners had left well enough alone and not adopted the fad purely for the extra dollars, as if it needed them. Still, apart from a few isolated effects that look phonier thanks to the extra dimension, the 3D works pretty well for the many spectacular visual effects as well as with the greater sense of depth with which Yates stages many of his scenes here.
As Harry and his friends converge on Hogwarts — now run by Snape like a gloomy fascist camp and guarded by hovering Death Eaters — an admirably sober, melancholy mood cloaks the proceedings; Aberforth Dumbledore (Ciaran Hinds) details unsavory aspects of his family’s early history and portents of what’s to come reverberate as Harry and Voldemort increasingly share what’s in their minds, while Harry’s welcoming committee at school resembles a stalwart bunch of loyal soldiers gathered for a none-too-promising last stand. Among the many who have been recently little seen, the one who most surprisingly rises to the occasion is the largely forgotten Neville Longbottom (Matthew Lewis), whereas Harry’s girlfriend Ginny (Bonnie Wright) offers entirely expected solidarity.
Similarly marginalized in recent years, Maggie Smith‘s wonderful Minerva McGonagall reasserts herself for this last campaign, helping to create a shield around Hogwarts that will at least temporarily delay Voldemort’s army, which has converged on a cliff overlooking the school. As preparations are frantically made for the final battle, time is nonetheless found for crucial narrative trips into the past, including one final and particularly revelatory dive into the pensieve to explore the early relationships among Snape, Harry’s mother and Dumbledore, as well as the murders that started it all so many years before.
Even the final wand duel between the evenly matched Harry and Voldemort has its distinct stages that reveal final layers of information. It’s also nicely leavened with slashes of humor, leading to a brief coda set 19 years later that, in the way it comes full circle and reconnects with the relative innocence with which the series started, feels just right.
The squabbling of Deathly Hallows Part 1 happily a thing of the past, Ron and Hermione lend stalwart support, but the burdens of the consummation lie squarely upon Harry’s shoulders and lead one to appreciate Radcliffe’s accomplishment here and throughout the series; whatever quibbles and shortcomings have existed in the past, he is Harry, once and for all, and goes out on a high note. A number of departed or otherwise absented characters make brief appearances here as a means of tying things together, enabling such actors as Gary Oldman, Emma Thompson, Jim Broadbent, Timothy Spall, Miriam Margolyes, Julie Walters and others to make brief curtain calls along with their fellow great pros.
Technically, nothing has been held back. The eventual sight of Hogwarts as a crumbled ruin is striking, Eduardo Serra‘s cinematography outclasses what he accomplished the last time out, and some of Nick Dudman‘s makeup effects — especially with the goblins and a shocking glimpse of a fetal Voldemort — are sensational. Alexandre Desplat‘s score is arguably the best yet for the series, briefly incorporating echoes of John Williams’ original themes while richly boosting the already heightened drama of this sendoff to such a tremendously successful series.
All that’s missing is an official “The End” after the final image.
Opens: Friday, July 15 (Warner Bros.)
Production: Heydey Films
Director: David Yates
Screenwriter: Steve Kloves, based on the novel by J.K. Rowling
Cast: Daniel Radcliffe, Rupert Grint, Emma Watson, Helena Bonham Carter, Robbie Coltrane, Ralph Fiennes, Michael Gambon, John Hurt, Jason Isaacs, Matthew Lewis, Kelly Macdonald, Gary Oldman, Alan Rickman, Maggie Smith, David Thewlis, David Bradley, Jim Broadbent, Warwick Davis, Tom Felton, Ciaran Hinds, Gemma Jones, Dave Legeno, Miriam Margolyes, Helen McCrory, Nick Moran, James Phelps, Oliver Phelps, Clemence Poesy, Timothy Spall, Natalia Tena, Emma Thompson, Julie Walters, Mark Williams, Bonnie Wright
Producers: David Heyman, David Barron, J.K. Rowling
Executive producer: Lionel Wigram
Director of photography: Eduardo Serra
Production designer: Stuart Craig
Costume designer: Jany Temime
Editor: Mark Day
Music: Alexandre Desplat
Visual effects supervisor: Tim Burke
Special makeup effects: Nick Dudman
Rated PG-13, 130 minutesJuly 11, 2011 at 11:25 pm #34581
Harry Potter: Hail and Farewell to a Hallowed Franchise
By Richard Corliss
Sunday, July 10, 2011
Emma Watson, Rupert Grint and Daniel Radcliffe in Harry Potter and the Deathly Hallows Part 2
“It’s very impressive, isn’t it?” observes moony Luna Lovegood, the hippie Hogwarts student, in the early moments of Harry Potter and the Deathly Hallows Part 2. It is indeed impressive; and we mean not just this solid, satisfying final film — in which the Potter saga reaches its climax, if not quite its emotional apex — but the entirety of producer David Heyman’s blockbuster franchise. One imagines future generations will watch it, in its nearly 18-hour expanse, as one sprawling, enthralling story. “Please, Mom and Dad, can we see just one more episode? It’s only 3 a.m.”
An eight-part fantasy epic with a dead-serious tone — and the unusual goal in these facetious movie days of being iconic, not ironic — the Harry Potter films of course had the benefit of a bedrock constituency: the tens of millions of worldwide fans of J.K. Rowling’s wizardly septology. But the filmmakers could have failed their source material, as the would-be alchemists of countless other books for young readers have before them. Instead, they saw their roles as caretakers of a sacred text, transferring Rowling’s young hero and his ageless benefactors and adversaries to the screen with a kind of buoyant reverence that often stirred the spirit and never dropped the Quidditch ball.
Ah, Quidditch. Remember the innocence of those early films, when the plot could pirouette on who would win the end-of-term match of airborne racquetball? As a decade passed between the publication of Rowling’s first Harry Potter volume, in 1997, and its conclusion in 2007, so with the films. The three leads have spent fully half their lives inside the skins and souls of their characters. We’ve seen Daniel Radcliffe (Harry) sprout chest hair, Emma Watson (Hermione) cleavage and Rupert Grint (Ron) a foot or so in height. The franchise’s core audience has grown up with them, making it hard to recall that, back in 2001 when Harry Potter and the Sorcerer’s [Philosopher’s] Stone made its debut, many skeptics doubted that kids could sit through a 2½-hour movie without a bathroom break. Who knew that narrative rapture could overcome bladder imperatives?
And who predicted, back then, that the series — which had a laborious birth under Chris Columbus’ directorial midwifing of the first two episodes — would grow in cinematic stature under three other directors and become a cohesive long-form work that nearly rivals Peter Jackson’s Lord of the Rings trilogy in expertise, intensity and grandeur? Credit screenwriter Steve Kloves, who wrote every script but that of Order of the Phoenix, with judicious pruning and a knowledge of the epic’s internal pressure points, and the technical crew headed by production designer Stuart Craig for visualizing the landscape of Hogwarts and beyond with such lavish, meticulous creativity. Kids who’ve grown up with these movies will be forever spoiled, assuming that all fantasies should look Harry Potter–rich.
Those in charge of wrapping up the story — Kloves again as writer and David Yates in his fourth term as director — assume that everyone knows everything that has happened up to this moment. Thus DH2 begins with the final images from DH1: of the malefic Lord Voldemort (Ralph Fiennes) stealing the Elder Wand from the crypt of Hogwarts’ late Headmaster Albus Dumbledore (Michael Gambon) and of the sepulchral Severus Snape (Alan Rickman), Dumbledore’s killer, brooding in his dark aerie. For the few who haven’t memorized every aspect of Potter lore, we will say that the Deathly Hallows are three talismans that can lead their carrier to victory: the Elder Wand, a super-invisibility cloak and a Resurrection Stone that secures communication with the dead.
Too much of the last episode allowed Harry, Ron and Hermione to meander in the tracking down of other relics, known as Horcruxes, that turned DH1 into an exhausting version of Western Quest. Finally, the series has to ignore side trips, whole chapters of Rowling exposition and flashbacks — deepest regrets to the sad story of the young Dumbledore siblings; we miss you — to concentrate on the battle between 17-year-old Harry and the towering, snake-faced villain who killed his parents and threatens to rule the wizarding world.
DH2 is, essentially, a war movie, a prolonged siege of Hogwarts, a children’s crusade against the Dark Lord and his overwhelming forces. The martial damage wreaked on the school is reminiscent of a blitzed London, a cratered Munich, in World War II — a good-vs.-evil face-off that Rowling surely had in mind as clearly if not as immediately as J.R.R. Tolkien did when he sent the Fellowship of the Ring trudging toward Mount Doom. It is a war for which Harry feels desperately underarmed, physically and intellectually. As he asks Hermione, “When have any of our plans actually worked? We plan, we get there, all hell breaks loose.”
The battle scenes are finely etched and boldly presented; yet the heart of DH2, as in the earlier films, is found in more intimate exchanges involving the amazing cadre of British acting royalty enlisted for the enterprise. You see this in the first scenes, as Harry interrogates the goblin Griphook and the wand merchant Ollivander, momentarily his prisoners. Griphook (Warwick Davis, who also plays Professor Filius Flitwick) is immaculately coiffed, with long, mud-colored fingernails, and endures the grilling with the imperial balkiness of a king kidnapped from a small kingdom and treated without due respect in a larger one. His agreement to help Harry, Ron and Hermione sneak into the innermost vault of Gringotts Bank is presented as a negotiation of weight and delicacy. As Ollivander, who must reveal the import of two wands in Harry’s possession, John Hurt lends portentous weight and a sad charm to every syllable. It’s a marvelous cameo performance, out-wonderfulled only by Gambon’s grave majesty and Rickman’s slow, pearly elocution and his depiction of Snape’s emergence from a crusty shell into another sort of majesty.
The bank heist, beginning in the cool marble of the Gringotts counting room, is splendidly realized. Hermione must pretend to be the mean matron Bellatrix Lestrange; and Helena Bonham Carter, who plays Bellatrix, has fun impersonating Watson impersonating her. Inside the vault (after a Temple of Doom–style roller-coaster ride that briefly breaks the Potter tone), the interlopers find that every cup they touch multiplies ad infinitum, until the room is clogged to the ceiling with a Vatican’s worth of precious metals. How are our heroes to escape, once Griphook sneaks out and armed guards approach? On the back of the vault’s truculent sentry, a huge dragon, which clambers through underground passages to emerge in the counting room with the kids hanging on. The film allows the dragon its own precious character moment: crashing through the Gringotts cupola, the great creature pauses for a second to savor its freedom before flapping its torn papier-mâché wings, soaring low and kicking a few chimney tops into rubble, then ascending to lift its passenger-saviors into the sky. This thrilling sequence is an apt metaphor for the entire film series: at first a bit clumsy in transferring Rowling’s vision into movies, then gaining strength, finding its wing power and soaring in later episodes.
Many critics have defined the books as a story of love after death: Harry for his parents, Harry for Dumbledore, even a certain serpentine teacher for a young woman whose ardent memory he will spend his life cherishing and protecting. But the books and the films also deal with a matter close to the young: Which adults can I trust? Who deserves my loyalty and obedience? We know from earlier episodes that Voldemort is simply evil, Dumbledore complicatedly wise and good. In the finale, we see, in sudden clarity, the murky motives of another father figure. The change provides the film’s most throbbing revelation: a bereft wizard holding the lifeless body of his beloved, as, behind this plangent Pietà, a 1-year-old child sobs. The scene gives evidence that, of the story’s several heroes, Harry has not sacrificed the most.
Though something like 94% of the people about to see DH2 must know the fate of Harry, his steadfast friends and his purported enemies, I am tiptoeing and sidestepping as I describe certain scenes. That’s because, like any child wanting to know what happens next in a story at bedtime, I want to know at the right time and wouldn’t care to spoil the suspense for the uninitiated. I consumed Rowling’s first three volumes in a ravenous week or so back in the summer of 1999 yet held off reading the conclusion of Deathly Hallows until last fall, after I’d reviewed the first half-movie made from it. At the end, I confess, I felt like Rowling, who said about finishing her monument of writing, “I never dreamed I could feel simultaneously heartbroken and euphoric.” For me, the end was just as powerful, transporting and sad.
Readers who responded as fully I did to the book are unlikely to feel the same convulsive emotions watching the end of DH2. For one thing, they’ve already been there; the movie cannot be more than a zealous approximation of Rowling’s achievement, a fair copy of a rapturous literary experience. Yet Yates and his team offer enough visual epiphanies — Snape’s inky shape as he flies through a closed window, a ravaging fire that assumes the shape of Voldemort’s pet snake Nagini, the lovely, ethereal gravity of Helena the Grey Lady (Kelly Macdonald), the white tears shed by a dying teacher — to bring the pages alive onscreen. The sublime supporting cast, brought back if only for glimpses here, remind us that the series is a luscious, perhaps unparalleled showcase for this generation’s most endearing British actors. And the children, now adults, in the main roles have matured ably along with their characters.
On both sides of the camera, all have performed inventively and honorably, faithful servants to the wizard in chief, Joanne Rowling. And now we must say goodbye to this world, like a summer camp we attended from childhood through adolescence and can return to only in memory — or, someday, with our children on DVD. Hail and farewell, Harry Potter films. You strove to do good and did better. In the wizarding world and the epic-movie universe, all is well.July 14, 2011 at 12:26 am #34582
Box Office Report: Final ‘Harry Potter’ Film Nabs Record $32 Mil in Advance Sales
The Hollywood Reporter (thought it would be appropriate here instead of the Box Office thread)
Box Office Report: Final ‘Harry Potter’ Film Nabs Record $32 Mil in Advance Sales
3:11 PM 7/13/2011 by Pamela McClintock
“Harry Potter and the Deathly Hallows Part 2″Special commemorative 3D glasses will be given out at midnight shows.
Warner Bros.’ Harry Potter and the Deathly Hallows Part 2 has sold more tickets in advance than any movie in history, with sales already reaching $32 million.
Deathly Hallows Part 2 opens in 3,800 midnight runs at 12:01 a.m. Friday, with many shows already sold out. The final film in history’s most successful franchise will move into a total of 4,375 theaters on Friday, the widest opening ever for a Harry Potter pic in North America.
Deathly Hallows Part 2 is the first title in the franchise to be in 3D, upping its earning potential. It will play in 3,000 3D locations, including a record-breaking 275 IMAX screens.
“We appreciate the loyalty of the Harry Potter fans and understand that they have been waiting 10 years for this moment. We can’t wait to show them the movie, which we believe delivers on every level, so we are putting the film out on as many screens as possible in an effort to satisfy demand from coast to coast,” Warners president of domestic distribution Dan Fellman said.
Daniel Radcliffe, Rupert Grint and Emma Watson reprise their roles as Harry Potter, Ron Weasley and Hermione Granger, respectively, in the final film. The film’s ensemble cast also includes Helena Bonham Carter, Robbie Coltrane, Warwick Davis, Tom Felton, Ralph Fiennes, Michael Gambon, Ciarán Hinds, John Hurt, Jason Isaacs, Matthew Lewis, Gary Oldman, Alan Rickman, Maggie Smith, David Thewlis, Julie Walters and Bonnie Wright.July 15, 2011 at 11:37 pm #34583
- July 15, 2011, 9:00 PM ET
“Harry Potter” Premiere Casts Box Office Magic
By Jason Evans
It hardly comes as a surprise, but the final Harry Potter film has cast a spell over movie-going audiences and already broken its first record. “Harry Potter and the Deathly Hallows: Part 2″ set the record for midnight box office last night pulling in a staggering $43.5 million in ticket sales. The old record was held by “Twilight: Eclipse” which did $30 million from midnight showings last year. To put that $43.5 million figure in perspective, “Kung Fu Panda 2″ — one of the hits of the summer – only sold $47 million worth of tickets its entire first weekend of release. Potter did that much in just its first hour of release.
Analysts saw this one coming several days ago. On Thursday, online ticket sellers reported over 6000 midnight screenings were sold out. “There is a theater near me with 16 screens,” said Boxoffice.com’s Phil Contrino. “I went on Monday to buy a ticket for the midnight shows and they were all sold out.”
In fact, many theaters, including expensive IMAX theaters, reported so much demand for midnight tickets that they added a series of 3am showings of the film. Talk about your all-night parties!
The question now becomes if “HP 7.2″ set the all-time weekend record. The current record holder is “The Dark Knight,” which pulled in a staggering $158.4 million when it opened in July of 2008.
“It has a shot,” says Contrino. “There are two keys here. First, those die-hards who went to see it at midnight, how many of them will want to see it again on Saturday or Sunday. Secondly, it needs to bring in the casual fans – folks who maybe have not read all the books or seen all the movies. There are signs this is turning into an event where people want to be there to see the end of this epic story. If that happens, we could see ‘Dark Knight’’s record fall.”
Most box office analysts were forecasting an opening around $145-$150 million before the Friday numbers came out, so it is clear that Potter has the potential to threaten “Dark Knight.” If “HP 7.2″ does manage to break ‘The Dark Knight”’s weekend record, it may not be able to celebrate for too long. Next summer, a new film comes along to threaten the mark. That film is “The Dark Knight Rises.”July 16, 2011 at 11:12 am #34584
I thought this was a disappointment. I liked part 1 and was really anticipating thie one, but this film had two major problems: 1. David Yates was a horrible choice for directing the finale and 2. The film had major pacing problems.
The thing David Yates is best at is doing the small and intimate character moments. That is great when the film centers most of its run time on 3 characters in the woods, but it is not good when the film is about an epic battle and showdown featuring many characters. Yates’s direction of the battle scene and the death scenes (or lack of) was horrible.
This film also really needed to excise some of the horcruxes but there would have been a revolt from the die hards if that happened. The first part of the film where they are hunting for the horcrux in Gringotts felt it was liek from another film in the series and completely killed the pace of the film.
I will say that many of the technical components (especially the art direction) and the acting (especially Maggie Smith who rocked all of her limited screentime) were very good.
Here are more of my thoughts on the film.July 17, 2011 at 11:19 pm #34585
Millions of Muggles Propel Potter Film at Box Office
Published: July 17 2011
LOS ANGELES — And now we know the spell for raining cash.
Harry Potter and his wizarding friends ended their decade-long film career by selling a staggering $476 million in tickets around the world over the weekend, breaking major box office records and leaving Hollywood executives shell-shocked.
“Harry Potter and the Deathly Hallows: Part 2,” the first film in the series to be released in premium-priced 3-D, sold $168.6 million in tickets in North America alone — the biggest opening weekend in history, not adjusting for inflation. “The Dark Knight” previously held that record with $158.4 million, according to Hollywood.com, which compiles ticketing data.
“Deathly Hallows: Part 2” also set a new high-water mark for the biggest one-day box office haul; this well-reviewed movie took in over $92 million on Friday in North America, including $43.5 million at midnight screenings, surpassing the $72.7 million generated by “The Twilight Saga: New Moon” in 2009. Imax theaters also broke sales records.
Paul Dergarabedian, president of Hollywood.com’s box office division, said the weekend’s “massive ticket buying frenzy” reflected the end-of-an-era nature of the film. When it comes to the pop culture power of the Potter franchise, including the books and related merchandise, “it is nearly impossible to overstate the enormity.”
That sweaty brow you see is that of Warner Brothers, the studio that under the leadership of its recently retired movie chief, Alan F. Horn, expertly managed the Harry Potter series over a decade, in particular maintaining a high level of quality that kept audiences enraptured and critics cooing.
But the juggernaut performance of the final Potter film is both terrific and terrifying for the studio. Although recent disappointments (“Green Lantern,” “Sucker Punch,” “Arthur”) are instantly forgotten, Warner must now figure out how to keep profits rolling without the boy wizard. The risky Potter replacement plan involves a heavier reliance on superheroes.
“I’m too old for cartwheels, but it’s close,” said Dan Fellman, Warner’s president for domestic distribution, referring to his reaction to the “ridiculously amazing” box office results. “At the same time it’s bittersweet. It’s also the end of a great franchise, and we’ve watched these talented kids grow up.”
In terms of Warner’s future without the Potter films, Mr. Fellman pointed to high hopes for “The Hobbit,” a two-movie series that starts at the end of next year, and next summer’s “Dark Knight Rises.” And it should be noted that Warner will reap rewards from the Potter franchise for decades through DVD sales and royalties from the Wizarding World of Harry Potter, a theme park attraction at Universal Orlando in Florida.
The eight films in the series, which hew closely to the storylines laid out in J. K. Rowling’s seven books, have now sold about $7 billion in tickets at the worldwide box office. Depending on how the numbers are spliced and diced, the series ranks either as the No. 1 movie franchise in history or second behind James Bond.
“Deathly Hallows: Part 2,” which analysts estimate cost about $200 million to make and $150 million to market, poses major challenges for movies set for release in its wake. Three big movies arrive in the next three weeks — “Captain America: The First Avenger,” “Cowboys & Aliens” and “Rise of the Planet of the Apes” — and may look puny in comparison.
That was certainly true of the only other new movie that opened against “Deathly Hallows: Part 2” over the weekend, though it was not positioned as competition. “Winnie the Pooh,” a $30 million hand-drawn film from Walt Disney Animation Studios, sold an estimated $8 million and finished sixth at the weekend box-office derby.
Disney hopes its G-rated “Pooh” movie, released in 2,405 theaters in North America (compared with 4,375 for “Deathly Hallows: Part 2”) will perform well in coming weeks at matinees, which have a dearth of offerings for the youngest of moviegoers. But the first job of “Winnie the Pooh” is to boost sales of related merchandise, which have slumped in recent years.
For the weekend “Transformers: Dark of the Moon” (Paramount Pictures) was second with an estimated $21.3 million in ticket sales, lifting its domestic total to $303 million after three weeks. The R-rated comedy “Horrible Bosses” (Warner) was third in its second weekend, taking in a surprisingly strong $17.6 million for a new total of $60 million.
“Zookeeper” (Sony Pictures Entertainment and Metro-Goldwyn-Mayer) was fourth in its second weekend, selling an estimated $12.3 million for a new total of $42.4 million. “Cars 2” (Disney’s Pixar) rounded out the top five, taking in about $8.3 million for a four-week total of $165.3 million.July 18, 2011 at 3:03 pm #34586
I myself was amazingly satisfied with the film, as well as being equally disappointed. I think the problem was that the film seemed a bit rushed towards the end, hence the epic awe was reduced. The film would have benefited with a 10-15 minute extended runtime so that more focus on the fantastical battles including the many deaths could have been achieved. But all in all, this was an almost perfect ending to the Potter series.
Now, how will it stack up at the Oscars? Aside from the usual and deserving technical nods, I think this final Potter film has somewhat of a chance in the creative and performance categories. I’d say Alan Rickman has a strong chance for a Supporting Actor nomination. I wouldn’t entirely rule out Ralph Fiennes or Daniel Radcliffe either, but their chances are very slim. Alas, if Maggie Smith had a few more minutes of screentime thus extending her role a little, she would have been one to watch as she was excellent in the scenes she was in. David Yates directed this well, but I prefer his work on part 1, so if he wasn’t nominated for that, there is no chance for him now. Best Picture? Longshot. Alan Rickman is the Harry Potter MVP for the Oscars. His chances for a BAFTA nod are even greater.July 20, 2011 at 3:21 pm #34587
I don’t think Alan Rickman has any chance at getting an Oscar nomination. I don’t know where any of this talk is coming from. Even a BAFTA nomination is a longshot for him.
Best Picture on the otherhand, I think it has a chance. I think the 5% 1st place votes threshold is in the film’s reach. It is the most critically acclaimed wide release of the year so far and that with it’s huge box office haul will make it to big to ignore in many people’s (including some Oscar voters) eyes.July 22, 2011 at 12:07 am #34588
Harry Potter Franchise Crosses the $7B Mark at Global Box Office
By Daniel Frankel at TheWrap
Thu Jul 21, 2011 3:48pm EDT
Warner Bros. announced Thursday that the hot-performing eighth and final installment of its Harry Potter series has pushed the franchise past the $7 billion mark at the global box office.
Yep, no pressure at all for source-book author J.K. Rowling, who says she’s done churning out Harry Potter books.
Here’s the full Warner press release:
HARRY POTTERFILM FRANCHISE SURPASSES $7 BILLION MILESTONE
The finale continues to break global box office records, as it further
solidifies the series’ standing as the top-grossing franchise of all time.
BURBANK, CA, July 21, 2011 – With “Harry Potter and the Deathly Hallows – Part 2” still in the first week of its record-breaking run, the Harry Potter film franchise has now crossed the $7 billion mark worldwide, and counting. The announcement was made today by Jeff Robinov, President, Warner Bros. Pictures Group.
“Harry Potter and the Deathly Hallows – Part 2” has earned an astounding $640.2 million worldwide in its initial week, encompassing $214.9 million domestically and $425.3 million at the international box office.
In addition, the success of the movie has propelled Warner Bros. Pictures’ combined 2011 domestic box office past $1 billion for an eleventh consecutive year, which is an industry record.
Robinov stated, “It is an extraordinary privilege for everyone at Warner Bros. to share in this piece of cinema history. We are extremely grateful to the Harry Potter fans, who have remained loyal to the movies for more than a decade. We also want to congratulate the amazing roster of actors and filmmakers, whose artistry and talent is evident in every frame of every film. But special thanks must go to the woman whose incomparable imagination literally changed the world, Jo Rowling.”
Sue Kroll, Warner Bros. Pictures President of Worldwide Marketing, noted, “Each film has inspired us creatively and it has been exciting to watch the evolution through eight remarkable movies. It has truly been the movie event of a generation, as Harry Potter fans who were there from the beginning have been joined by new fans over the years, and their enthusiasm—as well as our own—has never waned.”
Dan Fellman, Warner Bros. Pictures President of Domestic Distribution, said, “Becoming a $7 billion-plus franchise is a stunning achievement, which is shared by everybody involved in any or all of the Harry Potter films. On the domestic side, the studio is also thrilled to have reached the billion-dollar benchmark for an unprecedented eleventh year in a row. We thank everyone at Warner Bros. whose hard work and dedication have contributed so much to our success.”
Veronika Kwan-Rubinek, Warner Bros. Pictures President of International Distribution, added, “It is a rare pleasure to have an opportunity to be a part of a global event of this magnitude. For ten years, the Harry Potter films have delighted audiences, bridging across countries and continents. We applaud all the actors and filmmakers who have given us the true definition of movie magic.”
The collective Harry Potter films are the highest-grossing franchise of all time, a global record it has held since the success of the sixth film, 2009’s “Harry Potter and the Half-Blood Prince.” Individually, the worldwide grosses for the previous films stand as: “Harry Potter and the Sorcerer’s Stone” at $974,755,371; “Harry Potter and the Chamber of Secrets” at $878,979,634; “Harry Potter and the Prisoner of Azkaban” at $796,688,549; “Harry Potter and the Goblet of Fire” at $896,911,078; “Harry Potter and the Order of the Phoenix” at $939,885,929; “Harry Potter and the Half-Blood Prince” at $934,416,487; and “Harry Potter and the Deathly Hallows – Part 1” at $955,417,476.
“Harry Potter and the Deathly Hallows – Part 2” is the final adventure in the Harry Potter film series. In the epic finale, the battle between the good and evil forces of the wizarding world escalates into an all-out war. The stakes have never been higher and no one is safe. But it is Harry Potter who may be called upon to make the ultimate sacrifice as he draws closer to the climactic showdown with Lord Voldemort. It all ends here.
Daniel Radcliffe, Rupert Grint and Emma Watson reprise their roles as Harry Potter, Ron Weasley and Hermione Granger. The film’s ensemble cast also includes Helena Bonham Carter, Robbie Coltrane, Warwick Davis, Tom Felton, Ralph Fiennes, Michael Gambon, Ciarán Hinds, John Hurt, Jason Isaacs, Matthew Lewis, Gary Oldman, Alan Rickman, Maggie Smith, David Thewlis, Julie Walters and Bonnie Wright.
The film was directed by David Yates, and produced by David Heyman, David Barron and J.K. Rowling. Steve Kloves adapted the screenplay, based on the novel by J.K. Rowling. Lionel Wigram is the executive producer.
“Harry Potter and the Deathly Hallows – Part 2” is the first Harry Potter film to be released in both 3D and 2D. Concurrently with its nationwide theatrical distribution, the film is being released in select IMAX® theatres. The film has been digitally re-mastered into the unparalleled image and sound quality of The IMAX Experience® through proprietary IMAX DMR® technology.
Opened nationwide on July 15, the film is being distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company. It has been rated PG-13 for some sequences of intense action violence and frightening images.November 22, 2011 at 7:02 pm #34590
Does anybody else actually believe that this could pull a LOTR: ROTK or is that just me?November 22, 2011 at 7:08 pm #34591
Well, if War Horse and Extremely Loud disappoints, this SHOULD sneak in for BP nom, which would be very very deserved as it is one of the best reviewed movies of the year. I don’t think a win is possible, but a nomination is plausible. And if it did, I would go YAAAYYYYYYYYYYY..November 22, 2011 at 7:13 pm #34592
I wish the prediction thingy would allow us to put in David Yates, Alan Rickman, and possibly Maggie Smith.November 23, 2011 at 11:30 am #34593
^ I love her in this, but No, there are far too many great Supp Actress nominees this year.
Along with Best Picture, this should/could get additional noms for Visual Effects, Art Direction, Sound Editing, Sound Mixing, maybe Cinematography, Score, Supp Actor, and maybe also (who knows) Screenplay and Director and soon enough people will start calling this the one to beat. And this would be my perfect dream.November 23, 2011 at 1:12 pm #34594
With its strong cintematography, box office success, talented cast, and critical acclaim it would be absolutely ludacris if this film didnt at least get a BP nod. This film franchise has held a strong legacy and will be remembered for years, that it is quite pathetic that they would snub this film over forgettable ones like Extremely Loud.