Initial reaction: very, very favorable. It's no controversial assertion that the Harry Potter film adaptations have been a bit spotty, but this one is spot-on. Although a fair amount of subplot has been unceremoniously dumped, this turns out to be rather a plus, as it allows the film to relax and stretch out, allowing the actors and the camera to give important scenes time to gather weight and impact -- as opposed to the bam-bam-bam Must! Get! Through! All This! Material! pace from the previous two films in the series. Moreover, Half-Blood Prince stands well as an adaptation -- not exactly the same story as the book, but a very similar story in its own right, with enough twists added and others smoothed out to keep those of us who have practically memorized the book on our toes, while providing a complete and comprehensible story for those who have not.
Well, sort of complete. It does come to a very jarring and sudden stop at the end. Like the book, this film ends with complete and utter defeat -- a sacrifice in vain, a jarring violation for Hogwarts, and an uncertain future of undoubted hard work and dubious hope for Harry. This is essentially Harry Potter and the Empire Strikes Back, and there really isn't enough denoument at the end to slide the audience out easy after the striking and terrible images (including one of the most skillfully executed jump-in-your-seat cheap scares I've seen in a long time) that they've been forced to ride through in the climax.
But this is a quibble in a movie packed to the gills with pure win. Although the subject matter has unmistakably grown darker and darker throughout the series, HBP maintains a balance of humor and emotional lift which was lacking (or at least rushed and perfunctory) in the previous two films; for all the serious downs, this film offers a heaping helping of light-hearted ups -- from the delightfully detail-packed scene at Weasley's Wizard Wheezes, to Luna Lovegood's straight-faced alternative approach to sanity, and above all to the romance -- Merlin's pants, the romance!
This is a very good date flick, loaded with well-timed and moving sweetheart moments, many of them delightfully funny as well, creating a wonderfully believable picture of awkward, embarrassed and occasionally terrified kids feeling their way toward emotional connection. For grown-ups it provides a delicious series of "Awwww!" moments that's got to be at least as good as a box of quality chocolates in terms of date-night value for your buck.
It certainly doesn't hurt that the main cast have largely grown past the awkward-looking stage and most have emerged not too shabby for it: Daniel Radcliffe and Tom Felton have both developed as plausible romantic subjects for their age group, and decent actors with a lot of promise for the future to boot; Rupert Grint is scarcely a heart-throb but at least he's looking now like his face fits properly, and displaying a definite developing talent for physical and facial comedy; Bonnie Wright has a square-jawed, understated prettiness reminiscent of a younger Jodie Foster; and Emma Watson has not only matured attractively in face but has benefited from a director who gets her to turn the knob way, way down on the petulant, choked-voice outrage that's characterized her performance for at least the last three films.
Also returned is the lavish attention to detail which characterizes the best films of the series (Sorceror's Stone and Prizoner of Azkaban, in my opinion at least) -- all these little things scattered across the screen, only occasionally called out for attention, making nearly every scene a rewarding treasure hunt for repeated viewing: Ginny's Pygmy Puff, the fact that a miniature dragon featured in an incidental sight-gag happens to be a Hungarian Horntail specifically, the tiny scars left on Narcissa's hand by the threads of the Unbreakable Oath, and the subtle joke to be found in the distinctive design of Cormac McClaggen's broomstick.
Costuming and visual design in this film deserve attention as well; although Professor McGonnagle's shoulderpads are a bit overdone, most of the wardrobe is stunningly well designed -- the fine details of Dumbledore's robes, Draco Malfoy's well-tailored and expensive-looking outfits, and Luna Lovegood's, ah, characteristic party dress are all worth an award in themselves, and although she hardly appears in the scene, Ginny Weasley's dress at the Christmas party is nothing short of gorgeous. Color and light are employed throughout to direct attention around the screen and supercharge the emotional impact with an expert, professional eye, while the camera flies weightlessly around the lavish sets, finding attractive angles to view the important actions clearly and allow smaller details to play around in the background.
In short, I really, really liked this one, perhaps especially in comparison to Order of the Phoenix -- which I found an exercise in continuous frustration, moments too clipped to have any weight and exposition naggingly unprovided; if nothing else Imelda Staunton's deliciously horrible Umbridge deserved more time to really draw out her awfulness. I'm just gushing now, and will probably have a more balanced and less squealy view of HBP after repeated viewing and more time to actually think about it -- but I think a very telling measure of the film is that I really, really want to view it again, as soon as possible.
'Scuse me, I'm gonna go start re-reading the book again...
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