Director(s)	Chris Columbus
Principal Cast	Daniel Radcliffe as Harry Potter Rupert Grint as Ron Weasley Emma Watson as Hermione Granger Robbie Coltrane as Rubeus Hagrid Richard Harris as Albus Dumbledore Kenneth Branagh as Gilderoy Lockhart Tom Felton plays Draco Malfoy Jason Isaacs as Lucius Malfoy
Release Date	2002
Language(s)	English
Running Time	161 minutes
Report Card	Click to go to Review TLDR/Summary

Harry (Daniel Radcliffe) looks down at a photograph from his past of his parents holding his younger, infant self. Even though he can’t remember the moment, the magical image conveys a liveliness that he yearns for; the “lost” memory reflects off his glasses emphasizing its power on him. Then he flips the page. An image of him with his best friends, Ron (Rupert Grint) and Hermione (Emma Watson), takes center page. But unlike his previous reaction, there seems to be less of a longing here; the image isn’t reflected off his glasses and his reaction is more muted. Why the distance towards his friends? Given the adventures the trio shared during their first year at Hogwarts, the difference in temperament is even more pronounced.

Suddenly, Hedwig, Harry’s owl, starts to fidget in its cage, causing quite a ruckus. Harry tries to calm her down and explains that her entrapment is his extended family’s decision and not his. Harry may not be stuck in a cup-board any longer, but his connection to the magical world which sustains him is limited and constrained; the Dursley’s might not have been able to stop him from going to Hogwarts but they certainly won’t let him mention it or anything related to it.

Hedwig’s outburst doesn’t go unnoticed and Vernon (Richard Griffiths) calls Harry downstairs regarding it. He goes downstairs where Vernon, Petunia (Fiona Shaw), and Dudley (Harry Melling) await. Vernon reminds Harry that the night is crucial to Vernon’s success; he’s hosting his boss for dinner and requires that Harry to remain completely silent – out of sight and out of mind – until said company has left. Outbursts like Hedgwig’s are unacceptable. Harry attempts to barter; if Hedgwig only had some time to fly free, she would be less agitated and noisy. But the Dursley’s push back and claim that Harry would such opportunity to reach out to his friends. Harry sadly notes that he has received no messages from any of his friends so sending anything back to them shouldn’t be a concern. His detachment when viewing the earlier photograph becomes clearer; he feels isolated and forgotten.

He trudges back up to his room, condemned to a night of silence but comes upon a creature on his bed; the creature introduces himself as Dobby, a house-elf assigned to a wizard family to serve as their magical servant. Dobby warns Harry that nefarious events will take place at Hogwarts for the upcoming year and urges the young wizard to take the year off and stay home. But Harry pushes back; he mentions that his home is no home at all and that he needs to see his friends.

Dobby retorts that Harry’s friends are no friends at all if they don’t even write the young wizard. Alas, the information gives the house-elf away. Harry questions how Dobby would know such information; Harry had only explained as much to his extended family a few moments earlier. Sheepishly, Dobby reveals a host of letters from Ron and Hermione and explains that he intercepted and hid the letters in hopes that isolation would cause Harry to lose interest in Hogwarts. Understandably, Harry gets irritated and makes a grab for the letters.

But Dobby escapes and runs downstairs to where Vernon and company sit. Harry freezes. Dobby realizes the stakes and offers Harry a deal: stay at home and agree to not go to Hogwarts or watch as the desert Petunia made for the evening drops on one of the guest’s heads. Harry pleads but Dobby doesn’t relent and casts a spell with a snap of his fingers; the cake starts to float up and moves towards the guests. Harry tries to catch the cake before it falls but instead ends up getting incriminated for the incident as the desert falls right as his hands get around it.

Unsparingly, Vernon does not take the debacle well and places additional bars around Harry’s room. Forget going to Hogwarts. Harry is no longer even allowed outside and is kept prisoner in the Dursley household; his room is little more than a jail-cell.

Thankfully, Ron and his brothers make their appearance to break Harry out in their flying car. They latch the bars onto the enchanted vehicle and rip them off. The disturbance wakes the Dursleys who burst in and try and stop Harry; Vernon grabs his nephew’s legs as the latter gets into the car, but he’s unable to maintain his grasp and falls onto some shrubbery as the car flies away. Harry and company make way to the Weasley household where the former is completely entranced by the difference between Wizard and non-Wizard life. Pots and pans clean themselves while needles knit clothes without any help. It’s a house of utter magic. Finally, Harry feels at home.

He gets acquainted with the rest of the Weasley’s and sets out to Diagon Alley with the group. However, as a wizarding family, the Weasley’s travel to the location not by normal means of transport but by Floo Powder, a substance which when used in a fireplace can transport a user to a fireplace at a named location. Ron demonstrates the method of transportation before Harry is told to have a go at it. But a mispronunciation on Harry’s part has him landing in a different location, Knockturn Alley, an environment which exudes a dark malevolence in contrast to Diagon Alley’s warmth. As Harry is accosted by dodgy folks looking to take advantage of a young, lost wizard, Hagrid (Robbie Coltrane) shows up and helps him out.

Harry is led to Diagon Alley where he meets Hermione. Just like she did in The Sorcerer’s Stone, Hermione casts a spell to fix Harry’s glasses before taking him to the bookstore where the Weasley’s wait. However, Harry’s fame has only grown since his first foray into the wizarding world and he’s recognized by Gilderoy Lockhart (Kenneth Branagh), an up-and-coming author, who capitalizes on the opportunity to do a photo-op with the young wizard. Suddenly, Harry is rushed forward and forced to become part of a publicity stunt he wants no part in.

As Harry tries to exit the store, he’s accosted by Draco (Tom Felton) and Draco’s father, Lucius (Jason Isaacs), who both notice him due to the unwanted attention from earlier. Once again, Harry is rendered an object of interest as the elder Malfoy exhibits a great curiosity in Harry given the latter’s role in exterminating the Dark Lord; Lucius lurches forward and examines Harry’s scar – the proof of the aforementioned exchange. The camera tilts as Lucius leans inward; the fascination with the mark of darkness is a sign of dark things to come. The confrontation dissipates and the parties make their respective ways.

Unfortunately, Harry’s trials and tribulations are only starting, and he finds himself caught in a web of deceit and mystery from the moment he makes his way back to school. As history starts to repeat at Hogwarts, Harry finds himself tasked with not only getting to the bottom of the school’s past but his own as well, all while dealing with a maze of ever-shifting allegiances that will have him questioning who’s really friend or foe. Just from it’s opening, it’s clear that this second installment in the Harry Potter franchise is darker, richer, and more thoroughly consistent than what came before.

In many ways the start of the film mirrors the way The Sorcerer’s Stone picks up. In both films, Harry is locked away by the Dursleys, he’s saved by a magical ally from his past, he’s taken to Diagon Alley where his past is commented on, and he even gets his glasses fixed by Hermione. But far from being emulation, The Chamber of Secrets embellishes each of these moments with a connective tissue that enriches the piece as a whole; the mystery driving the story rarely takes a backseat which gives the narrative a cohesive feeling. This is why the film can adopt the same slice-of-life approach as its predecessor, chronicling different sections of Harry and his peers’ lives over the school-year, without feeling as disjointed. The threads behind the mystery are set up from the very start of the story, so there’s a throughline to hang onto even when the pace it feels like its lagging.

Director Chris Columbus also improves upon the overall look of Hogwarts with much improved CGI that makes the magical encounters feel far more authentic. If Dobby wasn’t enough proof, there are multiple CGI creatures that interact with the cast in believable fashion. This impact can be felt most prominently in the third act when all the different elements come together in thunderous fashion.

This is exactly what a sequel should do: build upon what came before without undermining it. If The Sorcerer’s Stone established that a world of magic could exist hidden under the world we know, then The Chamber of Secrets explores just what such a division would engender. If the Dursley’s are Muggles ^[1] The in-universe term for non-magic persons. who abhor wizards, then their magical opposites must also exist: wizards who detest Muggles. With parties on both sides aware of the other, the mechanisms governing the worlds, both in relation to one another and internally within themselves, are intricate, and Harry is just starting to scrape the surface of what lies beneath.

REPORT CARD

TLDR	Harry Potter and the Chamber of Secrets expands on the magical world of Harry Potter in great fashion, delving into the backgrounds and darker underpinnings of Hogwarts as an institution. Director Chris Columbus improves on the original film’s formula with a tighter ,darker script and much better CGI/practical effect incorporation. It’s a more engrossing journey from start to finish.
Rating	8.6/10
Grade	B+

Go to Page 2 for the spoiler discussion and more in-depth analysis.
Go to Page 3 to view this review’s progress report .

Director(s)	Chris Columbus
Principal Cast	Daniel Radcliffe as Harry Potter Rupert Grint as Ron Weasley Emma Watson as Hermione Granger Robbie Coltrane as Rubeus Hagrid Richard Harris as Albus Dumbledore
Release Date	2001
Language(s)	English
Running Time	152 minutes
Report Card	Click to go to Review TLDR/Summary

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John William’s otherworldly score, the first track of many, introduces us to the magical world of Harry Potter right at the film’s start. The use of a celesta on top of traditional orchestral elements engenders a light mystical ambiance that informs us that we’re entering a world of intrigue and mystery, possibilities fully abound. While the score enchants, an owl, a creature whose flight is as feathery as the score playing, lands on a sign for Privet Drive. The camera turns from this creature to a man, Dumbledore (Richard Harris), who wanders towards the street.

He makes his way to the street proper and takes out a device from his robes which he promptly uses to capture the literal light from the street-lamps illuminating the area. With the veil of darkness now concealing affairs, Dumbledore turns towards a cat whom he refers to as Professor McGonagall (Maggie Smith). In response, the camera pivots to the cat which transforms into a woman adorned in robe and hat much like Dumbledore. Already the viewer is warned that appearances do not correspond to an expected truth; everything is not what it seems.

As McGonagall and Dumbledore discuss the present affairs, a large bearded man, Hagrid (Robbie Coltrane), appears in a flying motorcycle and descends towards the duo. He hands Dumbledore a newborn infant, Harry. McGonagall implores with Dumbledore to reconsider his decision to leave Harry here at Privet Drive with the baby’s extended family, the Dursley’s, citing that said family, the Dursley’s, are awful “muggles” who would only make Harry’s life miserable. If the child was raised in the world of magic where the present adult trio came from, he would be treated as a celebrity of the highest order due to what he’s done. However, Dumbledore pushes back and indicates that Harry would be better off growing away from that level of fame until he’s ready; living with the only family he has left, even if they are terrible, is necessary.

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The trio leaves Harry on the Dursley’s front door along with a letter made out to them explaining the nature of this new “delivery.” Dumbledore wishes the infant “Good Luck” as the camera begins in to push into the latter’s face; a lighting shaped scar on the child’s forehead begins to burst into a flash of light from which the title card appears. Suddenly, the title card disappears in another intense burst of light and the camera begins to pull out from a much older Harry’s(Daniel Radcliffe) scar.

Sharp knocking from his aunt Petunia (Fiona Shaw) along with an order to wake up interrupts his slumber, a slumber which is taking place in a cupboard underneath the staircases. It becomes quickly apparent that McGonagall’s assessment of the Dursley’s were correct as the location of Harry’s bedroom is far from the worst thing about his life. He tries to get out from the cupboard but is then shoved back in by his cousin, Dudley (Harry Melling) who seems to relish in bullying Harry.

Finally, Harry manages to make it to the kitchen where he’s immediately made to cook breakfast while his cousin is coddled by Petunia and her husband, Vernon (Richard Griffits). It’s Dudley’s birthday and celebrations are afoot; the family is set to go to the zoo as a result. But before they leave, Vernon pulls Harry aside and warns the latter to not engage in any “funny business” under threat of punishment. The nature of this business isn’t clarified. What exactly could Harry have done in the past to warrant such treatment?

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The answer becomes clear once the Dursley’s make it to the zoo with Harry in tow. The family stands in front of a snake who refuses to engage with them. Everyone sans Harry leaves. The young boy begins to speak to the snake before realizing the snake comprehends him. Cheerfully, Harry begins to question the snake before Dudley notices the now active serpent and rushes towards its enclosure, pushing Harry out of the way and to the floor. In rage-fueled retaliation, Harry stares at his cousin and suddenly the glass separating the latter from the snake disappears; Dudley falls into the snake’s enclosure and the snake escapes after thanking Harry. Petunia and Vernon rush over in obvious disbelief at the situation but notice Harry smiling at his cousin’s misfortune. Vernon stares back and it becomes apparent that “funny business” is nothing more than euphemism for “magic.” He punishes Harry for violating his orders and the days pass.

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However, in spite of Vernon’s’ actions, it seems that “funny business” is here to stay. An owl drops a letter off for Harry with the same typescript as the one Dumbledore initially left at the film’s start. The letter is explicitly addressed to his abode: the cupboard underneath the staircase. Something magical is afoot.

Unfortunately, the letter is quickly grabbed from Harry by Vernon and company. They see the seal on the back and the front of the letter and deny Harry access to the same. But the letters don’t stop. Owls continue to flood Privet Drive as letters begin to appear at the household en masse, before eventually busting out of every seam and corner after enough time.

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Yet, Vernon persists. Instead of acquiescing and allowing Harry to read the letter and end the barrage, the head of the Dursley household upends the entire family to a remote island in the middle of nowhere. The new abode is so small and unkempt that Dudley doesn’t’ even have a proper and is made to sleep on the couch. Harry fares ever worse, being treated to nights on the sandy floor. He draws an outline of a birthday cake in the sand and wishes himself a “Happy Birthday”; Given what we know of the Dursley’s, it’s clear why his celebration is solitary.

As he blows out the candles of his sand cake, the door to the abode bursts open and Hagrid, the person responsible for bringing Harry to the Dursley’s to begin with, enters. He asks for Harry and hands the young boy not only a cake, the first birthday cake of his life, but also a copy of the letter that Vernon and Petunia upended their lives to stop him from receiving. From the letter, Harry learns he’s a wizard who has been accepted to Hogwarts, a school for witchcraft and wizardry whose headmaster is none other than Dumbledore. More importantly, Harry finally learns the truth about his lineage. Hagrid informs the young wizard-to-be that the latter’s parents were murdered, a sharp contrast to the Dursley’s version of the story which explained away Harry’s parents’ deaths as a result of a large car crash.

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Why Dumbledore would leave Harry in such an area where his identity and lineage are disrespected so heavily is still up to question, but thankfully the abuse is made to stop. Hagrid forcefully informs the Dursley’s that Harry will be going to Hogwarts with or without their permission and ferries the young boy away from the area. The duo makes their way to a pub filled with witches and wizards. It’s here that McGonagall’s words from earlier become realizes. The crowd within the bar looks at awe upon Harry upon learning of his presence. Hosts of peoples come to him, praising and congratulating him for something, the nature of which is unknown. It’s clear that he’s a hero to them even if he doesn’t know why.

Once the crowd dissipates, Hagrid leads Harry to an unsuspecting brick wall which the former promptly taps with his umbrella qua wand. In response, the bricks start to magically re-arrange themselves, opening a pathway to a whole new world hiding behind the seemingly normal façade: Diagon Alley. With a new domain open to them, the duo proceeds into the wizarding world to get Harry his respective school-materials before the semester at Hogwarts starts. Once there, Harry is able to earnestly find out not only about himself but also the mysterious circumstances surrounding his parents’ deaths.

It’s at Hogwarts, where the rest of the film takes place, that director Chris Columbus is able to showcase the magical world of Harry Potter and the Sorcerer’s Stone in all its glory. Portraits which move and talk to students, spells which levitate objects, ghosts which pass from tables, and wonderous feast that appear from nowhere are only a few of the normal occurrences which fill the halls of the wizarding school. A standout sequence involves Quidditch, a sport played in the Wizarding world with the use of flying brooms and magical balls which plays like a mix of rugby and football/soccer. The camera dips, dives, ducks, and swings around the field as two teams try and score points on another, conveying a sense of flight and freedom that makes the games played as intense, if not more intense than any such equivalent we’re privy to. Though some of the CGI used to bring these wonders to life has aged poorly, the depiction of the otherworldly events of the film manages to capture the vitality and intrigue described in the novel by J.K. Rowling which serves as the film’s source material.

Unfortunately, the film’s dedication to Rowling’s novel renders its narrative as contrived as its source material’s. Like the book, the film adopts a fragmented approach towards telling Harry’s day-to-day life at Hogwarts. We see him attending a few classes, going to a Quidditch game, and hanging out with his friends, but in spite of this, it’s unclear what a week-to-week, let alone a day-to-day schedule looks like for him or other students. Consequently, it’s difficult to evaluate what Harry or his companions, Ron (Rupert Grint) and Hermione (Emma Watson), have learned and to what effect they’ve mastered the same; when they proceed to resolve obstacles in the latter portion of the film, the gravity of what they’re doing is lost because there’s a discord between the stated severity of their trials and the seeming ease of the solutions they employ to solve them.

Thankfully, just like the book, the film’s heart and warm spirit makes up for narrative misgivings; after all, the story isn’t renowned for it’s narrative intricacy but rather for its commitment to telling a passionate and humane story capable of engendering a renewed sense of wonder. In this sense, the film excels no small part due to the acting efforts of the adult cast who are firing on all cylinders here; each of them knows precisely how far they can take it without going so far as to be a caricature. They also enable the younger set of child actors, many of whom are still finding their footing on the big screen, to rise to the occasion during heftier moments such as to achieve a nice emotional resonance as the film reaches its fantastical climax.

REPORT CARD

TLDR	Chris Columbus’s direction, Rowling’s novel, and John Williams’s iconic score combine in fantastic fashion in Harry Potter and the Sorcerer’s Stone, a tale about a boy who finds out he’s a wizard and seeks to uncover the murky tales regarding his lineage and past. Even though some of the CGI doesn’t hold up in the status quo, the commitment towards maintaining the book’s vision is present from start to finish. This is a hefty story and it manages to captivate the audience in the world it presents in spite of its occasional narrative stumbles.
Rating	8.3/10
Grade	B+

Go to Page 2 for the for the spoiler discussion and more in-depth analysis.
Go to Page 3 to view this review’s progress report .