Harry Potter e os Talismãs da Morte: Parte 1

A parte melhor interpretada de todos, mas isso não altera o facto de que o argumento não vale muito e o enredo é muito mais lento e mais longo do que no livro. Em comparação com as cenas maravilhosas (a introdução, a história dos três irmãos, o ministério, a destruição do Horcrux...) há realmente muitas cenas que distraem e parecem ser de outro filme (a dança na tenda e tudo o que fez com que metade da sala explodisse a rir). Por causa disso, também não conseguiram trazer para o ecrã a atmosfera sufocante de tensão permanente, medo e ansiedade que deveriam assombrar os heróis em cada passo. A primeira parte dos Talismãs é incapaz de funcionar sozinha e apenas dá ao espetador uma sensação de calma antes da tempestade, o que, pelo menos em mim, levanta a esperança de que a segunda parte seja de facto enérgica, cheia de ação e de tirar o fôlego. (20/11/2010)

Vi os primeiros quatro Potters, os outros não me atraíram como um não-fã. Os Talismãs da Morte: Parte 1 vi só por causa dos atraentes cartazes no «Dark-Knight-Style». E fiquei extremamente aborrecido. O início da série introduziu os personagens, um belo cenário cinematográfico, e, no caso do terceiro filme de Cuarón, foi também uma aventura cinematográfica distinta, maravilhosamente sombria, com abundância de truques de realização. Os filmes tinham uma história própria; eles moviam sempre o espetador para algum lado. No seu contexto, os Talismãs da Morte: Parte 1 é apenas um cenário de sopa onanista, um modelo filmado sem criatividade, sem ideias, as qualidades do modelo não conheço, mas se são semelhantes, nem falar. (18/11/2010)

The world of magic has entered truly the darkest times, but despite what random critical outbursts might suggest, it has absolutely nothing to do with the quality of the film adaptation. Yates and Kloves had a challenging task of transforming the "slower and more talkative" part of the Relics into a separate explosive blockbuster. The director stood out with incredible bravura, and whether the Trio is leaving home, the Tale of the Three Brothers is being told, or the horcrux is being destroyed, the magical atmosphere literally shines from the screen. However, Kloves' screenplay occasionally takes shortcuts, and if I didn't have the source material loaded backwards and forwards, I would be quite lost. But even though Bill and Fleur become members of the Order from minute to minute, when they were omitted in the Prince, and Minister Scrimgeour steps onto the scene only to quickly descend from it, the criticisms are hard to find in the consequences. The overall impression for me screams that from four hundred pages full of expectations of great things and the fulfillment of smaller ongoing goals, an epic fantasy full of intoxicating moments and such sincere private drama has been created that it takes one's breath away. The Phoenix and the Prince have gained a successful companion, and if David Yates was the king after the previous installment, he has slowly run out of room to climb. (27/11/2010)

The seventh book is unnecessarily, although readably, drawn-out in the first half; and the second half has a fateful finale as we like them best. It’s movie adaptation has only got half way so far (somewhere around page four hundred of about six hundred), but it’s already better than the book at least in that Yates succeeded in approaching it in a way that doesn’t come across like unnecessarily watered down porridge. And if so, certainly less than the book is. Thanks to the convincing (!) emotions, the finally acting well central trio, the great atmosphere and Desplat, it works wonderfully. It’s true that there are a few scenes that stand out in quality above the others, but even so, the movie works primarily and mainly as a whole. But still, it is evident that where the creators dared to let their fantasy loose and not to stick word for word to the book, the movie is clearly at its best. Now all I can wish for is for Yates to manage to deal with the special effects-full, epic second part, while not forgetting those emotions and characters. If he manages that, we’ll have something to look forward to. But if he doesn’t, we will really have something to “look forward to". (18/11/2010)

I don't know if this is a fantasy tribute to Satantango, but the fact is that, if all the shots were thrown out where the characters were mindlessly stumbling or looking soulfully into nothingness, there would be about 30 minutes of film left and I would have a hard time defending its purpose. The entire Harry Potter series has since become an unbearably stretched and non-inventive spectacle on the silver screen, which includes purposeful piling of meaningless branches and the creation of soap opera odor. Yet even in terms of character rendering, it is poor and dead tired, without sparkle and anything that would keep a person’s attention who does not look at it as an overpriced illustration of a book. Utterly useless, boring, and I dare say even a stupid half-part. (10/07/2011)