“These are dark times, there’s no denying,” concedes the Minister of Magic, the wizarding world’s top law enforcement official played by a bold, scowling Bill Nighy. “Our world has faced no greater threat than it does today.”
Thus begins the bleak seventh film in the 8-part adaptation of J.K. Rowling’s sprawling, magnificent novel series, and the beginning of the end for the beloved movie franchise and its now grown-up wizards. In fact, Harry Potter and the Deathly Hallows: Part 1 is the most mature of the saga to date, a critical mass of intense action sequences, moody motifs of despair and fear, and strong, nuanced performances.
These cinematic adaptations are no longer the whimsical, innocuous schoolboy adventures of Potter’s formative years. David Yates’ grim, gloomy sequel is generally not for the much younger fans, who may be frightened by its startles and depictions of death. Nor is the sequel for those uninitiated Muggles, who will be lost in the complex myriad of characters and jargon the series has cultivated over nearly a decade. This one’s almost exclusively for the followers, who can appreciate the intimate exchanges of the bonded trio when the story dips into a depressing valley and the lived-in struggle between the various powerful forces of good and evil.
In the somber wake of Professor Dumbledore’s death, the dark Lord Voldemort and his Death Eater army have strengthened and spread, infiltrating the Ministry and bending its influence to their will — complete with Holocaust undertones. Unable to return to the haven of Hogwarts, Harry (Daniel Radcliffe) and his closest companions, Ron (Rupert Grint) and Hermione (Emma Watson) set out in search of the remaining enchanted horcruxes, the crucial shards of Voldemort’s soul, scattered and hidden throughout the world.
The pace is quickened by two thrilling chases and a saloon-style shootout, but, for the most part, the narrative is a slow-burning exploration of the characters’ coming-of-age realizations, particularly Harry who shirks the protection of his older allies to shoulder the responsibility of finishing Voldemort himself. Radcliffe is as confident as ever in Potter’s robes, carrying the movie without the assistance of the usual eccentric supporting actors. Grint reaches deeper than his surface-level facial expressions of the first few films, and he hits the comedic and dramatic beats with a charming quality more befitting of a sidekick. 
Hermione’s precocious prattling is shaken up and the capable, attractive Watson is given more to do than deliver disapproving looks with her hands on her hips.
Swirling at the center of this dreary episode is Ralph Fiennes’ twisted performance as Lord Voldemort. His face may be consumed by snake-like make-up, but Fiennes is masterful down to the Dark Lord’s graceful mannerisms and commanding presence. It’s his prominence, the rise of his dedicated disciples, and the chapter’s heart-wrenching ending that evoke fond memories of Empire Strikes Back.
Yates sustains a relentless tension — even when the characters are simply trading dour looks in the forest beneath the constantly overcast sky — gradually unfolding the obstacles over the 146 minutes afforded to it by splitting Rowling’s seventh and final tome into two. The triangle’s clandestine mission inside the Ministry is played out in faithful detail, accented by John William’s iconic score and dazzling special effects.
Though the most effective use of technology is a hauntingly beautiful animated interlude that explains the titular hallows, another scene is bound to spark discussion and derision. It involves an awkward vision of a nude Harry and Hermione, obscured by pixels, sharing a passionate embrace, which fits with the pair’s budding adulthood but may send parents hurrying to shield innocent eyes.
Harry Potter and the Deathly Hallows: Part 1 may not please everyone with its steady pace and brooding style, but the penultimate adaptation is the most satisfyingly well-made and expertly-acted installment of the saga.
4 out of 5.
