Harry Potter and the Deathly Hallows - Part 1 Reviews

  • Part 1 is the most cinematically rewarding chapter yet.

    Lisa Schwarzbaum — Entertainment Weekly

  • Even though it ends in the middle, Deathly Hallows: Part 1 finds notes of anxious suspense and grave emotion to send its characters, and its fans, into the last round.

    A.O. Scott — New York Times

  • Menacing and meditative, Hallows is arguably the best installment of the planned eight-film franchise, though audiences who haven't kept up with previous chapters will be hopelessly lost.

    Scott Bowles — USA Today

  • It's half of a really good movie, full of the enchantment, emotion and incident for which the Potter series has become so fanatically cherished.

    Ann Hornaday — Washington Post

  • Like Alfonso Cuaron, who made Azkaban, Yates and his crew are as visually descriptive as Rowling was with language.

    Wesley Morris — Boston Globe

  • Watson's brainy, practical Hermione drives the film's narrative; Grint's fiery, jealous Ron provides its relatable (that is, non-magical) conflict.

    Dan Kois — Village Voice

  • Equal parts action thriller, political parable, and multidimensional love story, Hallows feels sad and strong and true.

    Elizabeth Weitzman — New York Daily News

  • Every two minutes the action whooshes sideways to someone somewhere else.

    Joe Morgenstern — Wall Street Journal

  • This one is a long, archetypal journey that screeches to a halt a few stops short of its destination.

    Amy Biancolli — Houston Chronicle

  • David Yates' fluid, fast-paced direction sends up the crackling tension of a thriller.

    Nancy Churnin — Dallas Morning News

  • By any measure, Deathly Hallows is a ripping thriller.

    Claire Martin — Denver Post

  • The filmmakers...adapt Rowling's tale with as much fidelity as their budget, effects crew, production designers, actors, and common sense will allow.

    Glenn Kenny — MSN Movies

  • The trouble with Harry, as becomes clear from this seventh and penultimate installment, is not that we have lost the plot -- the film is as tangled and as corkscrewed as Bonham Carter's hair -- but that we are in danger of losing everything else.

    Anthony Lane — New Yorker

  • The film depends more on mood and character than many of the others, and key actions seem to be alarmingly taking place off-screen.

    Roger Ebert — Chicago Sun-Times

  • The story-within-the-story regarding the deathly hallows is visualized by way of shadow-puppet style animation, and the effect is quite beautiful.

    Michael Phillips — Chicago Tribune

  • The seventh and penultimate entry in the franchise jettisons the humor and fizz of the earlier movies for a much bleaker adult tone.

    Andrea Gronvall — Chicago Reader

  • When Warner Brothers announced that it planned to split the seventh, and final, installment of J.K. Rowling's wizarding septology into two separate films, I figured it was all about the money. Turns out it was all about the story.

    Carrie Rickey — Philadelphia Inquirer

  • Radcliffe, Watson and Grint, having literally grown up in their characters, are ready for their close-up. They earned it, they deserve it and they nailed it.

    Colin Covert — Minneapolis Star Tribune

  • There's plenty of humor, plenty of magic and even a bit of romantic stress, although there's also quite a bit of mulling and standing about.

    Tom Long — Detroit News

  • It's not a bad movie, but it is very much a transitional one, with Warner Bros. splitting J.K. Rowling's last installment in the "Potter" series into two films.

    Bill Goodykoontz — Arizona Republic

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