There’s surely, too, a future horror film in Yates, given just how well he manages to jolt you out of your seat, and put across such a sinister tone. The opening transportation of Harry Potter to attempted safety, for instance, is genuinely thrilling, the kind of sequence that will leave many in the audience simply gasping for breath.
The same kind of sequences that big budget production after big budget production over the past year or two have failed to deliver. Director David Yates has not only learned how to get the most out of his hardly-miniscule special effects budget (most of which is very much used for effect rather than distraction), but he’s utterly on top of some quite brilliant blockbuster sequences. Let’s make no bones about this, then: the first segment of the film is utterly gripping. That’s where you get the cavalcade of British thesps (Alan Rickman, as always, takes the honours for us, but you get, inevitably, a lot more Ralph Fiennes too, and the return of Imelda Staunton is a brief delight), along with the sinister build up of the Dark Lord Voldemort’s plan, the magnificent sequences inside the Ministry Of Magic, and a real sense of darkness and gloom. In fact, with one notable exception which we’ll come to shortly, all of the really good stuff is to be found in the first third of the movie. That said, there’s little arguing that it’s a film that shoots out the traps quite brilliantly.
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