The international terrorism arrives to Hogwarts

Rating: 5/10 (14 August 2018)

One of the greatest successes of the series (a term that I think is more appropriate than Harry Potter's hackneyed and bombastic saga) is that it "grows" along with its potential readers. That is to say, a supposed model reader who with 10 years old read the first book in 1997, would read the last one with 20 years. And that tender infant that vibrated with the antics of Potter and his friends has grown up and has learned that in the world there is terrorism and war, love and sex, differences and injustices; therefore, one of the great merits of J. K. Rowling is that his series moves from the carelessness of childhood to increasingly mature and rugged issues.
For the first time in the series, in GOF the fantastic universe expands, and new cultures appear, even if they are more picturesque groups than anything else, like the Durmstrangs school from Bulgaria (and that supposedly "comes from the north", from the north of where ?, please, someone bought a world atlas to J.K. Rowling), dressed like Russians and rough as hell, and the Beauxbatons school from France, more corny than imagine. However, the Death Eaters, acolytes of Lord Voldemort, whose acts of unusual violence sow terror among the magician community and demand the arrival of a new world order, make their appearance. Nor are there any classic features that play so much in each episode: the laurels are here for Alastor Moody; without forgetting the ultimate attraction, Lord Voldemort.
The film is structured around the Triwizard Tournament and the three tests that compose it; three crazy tests that Harry Potter must face to show everyone that he is a guy capable of breaking the rules to achieve his goals; three tests whose filming, editing and editing leave much to be desired. While the former has its own, it gives the feeling that the fight against the dragon was for more emotions. The second one, was so-so. But the third ... suffers from emotion on all four sides, is an overwhelming relief. Fortunately, it is the scene that precedes the resurrection of Lord Voldemort. In a spooky and ornate decor (which seems to want to show off its status as a set) Lord Voldemort finally acquires corporeal consistency and the camera does not have to fall in love with its ugliness. This scene even gets one to forget the plubbed teenage intrigues that he has been forced to witness.