More than just the best "Potter" film (to date). It can also hold it's own against the best of fantasy entertainment.

Rating: 10/10 (27 October 2010)

If there is a scene that sums up my feelings about this film, it would probably be where Harry is forced to ride Buckbeak the hippogriff ("Don't pull out his feathers," warns Hagrid, "cause he won't thank yer for that!"). Initially, Harry hangs on for dear life, but as the flight progresses over Hogwarts and its nearby lake, Harry suddenly feels a sense of complete exhilaration.
This scene is not only terrifically executed, but makes a great statement about the "Harry Potter" franchise in general. Under Columbus, the series was keen on observing its wondrous world, but not much else. But under Alfonso Cuaron, the series does more than observe. It flies and sails through all of the possibilities. Add to that an improved script from Steven Kloves, better performances from the main trio, and some welcome musical themes from John Williams, and you have what is, to date, the best "Potter" film yet.
The "Prisoner of Azkaban" is Sirius Black, a mass murderer who has escaped. A former supporter of Lord Voldemort, Black is reportedly going after Harry to finish off the Dark Lord's work. Harry, of course, would much rather live out his third year at Hogwarts without unpredictable distractions. But more than Sirius Black is concerning Harry now. The guards of Azkaban, the dementors, are snooping around Hogwarts and forcing Harry to rehear his worst memories. The new Defense Against the Dark Arts teacher, Remus Lupin, is revealing that he had connections with Harry's father. And for all of the security around Hogwarts, how is Black breaching the castle walls and attacking portraits?
Steven Kloves has written a far better script this time around, thanks in large part to a greater emotional heft he puts on the story. Harry's parents take on a greater importance this time, and they are the source for some of his motivations in dealing with the Dementors, Remus Lupin, and Sirius Black. In fact, speaking of Lupin, I was quite impressed with how well Kloves wrote all of the interactions between Harry and Lupin. His manner reminded me of some of my favorite teachers from high school, and how they would sometimes care about more than just their students' academia, but their personal lives too.
And not only is the script better, but so is the acting. Reportedly, director Cuaron had Daniel Radcliffe, Rupert Grint, and Emma Watson all had to write essays on their characters before filming began. Smart move. Racliffe, Grint, and Watson all interact with each other like there's real history between them, and don't just look like they're trying to hold their own while reciting lines. Several new casting choices are inspired as well. David Thewlis plays Professor Lupin, and he brings humanity and compassion to the role. Gary Oldman is Sirius Black, and his interactions with Harry are not only credible, but you get a sense that he has truly cared for him for many years now. Emma Thompson is a hoot as Professor Trelawney, Harry's eccentric Divination teacher. Several have criticized Michael Gambon taking over for Richard Harris as Albus Dumbledore, but I think he's fine for the role. He may not be the Albus Dumbledore of the book, but I bought into his more stern, yet still sensible portrayal of the revered Headmaster.
I missed John Williams' film score in "Chamber of Secrets" because I rarely heard it. Here however, Cuaron lets him come back in full force. Time and time again, Williams comes up with other memorable theme, including "Aunt Marge's Waltz," "Buckbeak's Flight," and "Double Trouble" (the song the Hogwarts choir sings). This marked the last time Williams worked with "Harry Potter," so it's good he went out on a high note.
I don't know what I can add to the appraisal of Alfonso Cuaron's direction, but I'm going to try anyway. The guy nailed it. For the first thirty minutes, I had this big grin on my face as he took great fun in blowing up Aunt Marge, making Harry's ride on the Knight Bus as wild and face-flattening as possible, and having students eat candies that made them act like monkeys and lions (or in Harry's case, blow steam out of his ears). He employs several clever camera tricks, including gazing into a mirror and having the reflection become the dominant shot, and having the Whomping Willow shake snow off its branches and having the snow hit the camera lens. And he's not afraid to exploit Hogwarts darker side, from the sinister, soul- sucking dementors to Lupin's tense transformation. There are too many "little touches" he adds on for me to mention, but I think my favorite was that when Harry and Hermione travel back in time and attempt to save Buckbeak, Hermione sees herself, and questions, "Is that really what my hair looks like from the back?" You won't find that comment in the book. Not only does that line add humor, but it also shows how Cuaron was willing to separate this film from the book and make it its own entity.
Does "The Prisoner of Azkaban" deserve the 10 I bestow on it? Maybe, maybe not; I will not deny, I am a little biased when it comes to "Harry Potter." But I do believe it to be great filmmaking, and great entertainment. Practically all elements from the previous "Potter" pictures have been improved upon. The result is a film that can hold it's own against the best of fantasy entertainment, and it's also one of the rare strong 3rd installments of any given film series.
(And one last note: I believe this film gets the award for "weirdest ending to any 'Harry Potter' movie")