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Fun with Franchises: Favorite Images from Harry Potter and the Deathly Hallows Part 2

One of the recurring features that we do in Fun with Francises (a feature within a feature) is, after we finish watching a film, we go through and pick out our favorite images from that film. These images could be anything from really famous images from the film or franchise, really beautifully composed shots, shots that are funny to us because of the facial expressions being made in them or because of what we said about them in the article in which they appeared, or simply because they have boobs in them.

What we usually do is, just how we watch the films, Colin and I go in separately and pick out about ten to fifteen shots that we really liked. Then we compare lists, and whichever ones we both picked automatically go on our final list. And everything else we talk through and discuss why we like them, and eventually we’re left with a final list of ten images we liked the best, along with ten honorable mentions, which were also as good, but just missed out on making the list proper.

It’s not very complicated (like most things we do here on B+ Movie Blog), and is just a way for us to point out shots that we really liked in the films, especially since we tend to pick stuff that’s not always on the beaten path. (We also don’t officially rank the list of shots. We just put them in chronological order. Simply picking them is hard enough. We don’t want to make our lives any harder. Plus, we’re lazy.)

That said — here are our favorite images from Harry Potter and the Deathly Hallows Part 2:

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Oh, I’m sorry, was that abrupt?

My intro for this one will be brief. We basically know what I like by now. Good framing, symmetry, the Quidditch pitch, those stairs

Then, this shot, because… look at it. And this shot, because I like how it shows us the space of the boathouse, and has that ominous sense to it of a predator stalking its prey. It didn’t really need to be worked in, but I like it.

See what I mean? That was quick as hell. And you know me. I’m never that quick.

Anyway, here are our choices. This was the easiest list we’ve had since the first one, I think.

1. Hermione as Bellatrix

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I specifically made sure we didn’t choose any shots from the similar sequence in the last film because I knew we were going to have this on here.

I fucking loved this scene. And it’s all because of Helena Bonham Carter. She has to, in this scene, act as Emma Watson, acting as Hermione, act as Bellatrix, which is a character she, herself, plays. That’s incredible. Just look at her body language in the first shot. Immediately when you see her you completely buy everything she’s doing. She’s so fucking good. All you need is that posture and you know exactly what she’s doing, and (hopefully) you’re aware of what’s actually going on in terms of the performance. That’s so great that she can make you believe she’s another character playing her character. It works better than the ones from the last movie, because this is a character we know.

And then there’s this moment — where she says hello to someone in Knockturn Alley, and they’re like, “What the fuck are you doing?” and she’s like, “No, you’re right, I was being stupid.” The way she delivers that line is perfect. That and the first shot, to me, are Helena Bonham Carter’s two best moments in this sequence. I completely buy everything she does, and it makes a pretty boring sequence quite entertaining.

Colin then chose the second shot, which is her (-mione) trying to be tough like Bellatrix in front of the goblins.

Colin:

Actually, the reason I really chose this particular shot is because it reminded me of a shot from one of my favorite movies: The Artist. If you remember the scene somewhere near the end where Peppy is trying to cut a deal with John Goodman’s character, she messes up her wording as she’s yelling, and before she corrects herself, she makes this exact face and general gesture. That one of — you’re trying to appear correct and authoritative by raising your head a bit, but you know that something you’ve done (or in this case, something you’re not) is preventing you from coming off as badass as you’d like. I saw this shot in the film, and was immediately reminded of the shot in The Artist, which is always a good sign. That was one of the more memorable moments of that film for me (although, let’s be real — they’re pretty much all one of the more memorable moments of that film for me) so I was really glad to see it here.

The track on the score for that moment is “Charming Blackmail,” too, which is just such a perfect title. It’s pretty adorable the way she does that. And now that I notice it, I’m glad you brought it up.

If there’s one thing I can recommend, it’s everyone going to see The Artist if they haven’t.

(And also laughing at how Ron looks like a younger Tim Burton in that photo and all the layers to that situation.)

2. This

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I chose the first shot, Colin chose the second.

We both essentially picked the same thing, which is — Voldemort just killed an entire room full of people like it was nothing. It’s pretty badass when you open up after this has happened, especially when you know the simple act of doing it was badass. So the fact that you don’t even see it somehow makes it even more badass.

But anyway, I chose the first shot because, like I said in last week’s shots article — I love the idea of Voldemort doing anything domestic. This motherfucker never wears shoes. He’s always walking around outside, in forests and shit. And here he is, walking through a proper house. And then, he’s got blood all over his feet because he’s just killed a room full of people. There’s something about that, the way he doesn’t care that he’s got blood all over his feet. The way he calmly walks over a pile of dead bodies as if it’s nothing. It’s quite an amazing moment and a shot that really sticks out to me.

Then, Colin’s shot I completely overlooked, but I’m glad he chose it, because the framing is incredible. We love us some wide shots and symmetry over here.

Colin:

This is another where I chose it for the wide reveal. The feet shot is great (said Quentin Tarantino about every foot shot ever) but to me the wide shot is key. He’s paved the floor in dead bodies. And what a room! The thing that I noticed about this that I might not have thought about otherwise is — what’s with the blood? If you stop to think about it, the blood means these people were physically tortured and killed with wounds (magical or not) rather than straight up Crucios and Avada Kedavras. It’s one thing for him to just murder a bunch of people, but he murdered these ones gruesomely. Say what you want about the guy, but the killing curse is the default in this universe; he’s been a bit more thoughtful than that.

I like to think that in this shot, he pauses before he leaves the room and thinks about all the people he’s killed. And then he shakes it off and keeps going. Just… “I’m hungry. Let’s get a taco.”

3. Showdown in the Great Hall

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We both chose shots of Maggie fighting Snape, but since it was all the same scene, I felt I’d shift my focus a little bit, since I’d get the chance to talk about both.

I put the first shot in here as a double because I just love the moment. Snape has brought the entire school to the Great Hall and is continuing to put up his act of being a Death Eater. He’s gotten wind that Harry is in the castle and tells everyone that if they know where he is and are found to have been helping him, they will be severely punished.

There’s this shot, where he says they will be found “e-qually guilty,” and you can both see and hear the pain and conflict within him as he says this, and it’s just brilliant. Alan Rickman acts his ass off in this movie, and it’s really a thing to see.

(Also, that’s totally the Joker behind him.)

But anyway, he’s walking through the crowd, telling them to tell him where Harry is, and then Harry just calmly steps out of the crowd. Which, I love. I love this moment. That he was just in the crowd with everyone and then decided to be a badass and make an entrance. I love that somehow no one who was standing around him decided to say anything. I wonder if he told them he was gonna reveal himself. But, I just love that act of, “Oh, looking for me?” That’s so badass.

It would be more badass if the Order didn’t immediately show up for backup (a shot that Colin chose that I’m sure he’ll mention in his notes), but still, it’s a badass moment.

And then Harry lambastes Snape with the whole, “How dare you stand where he stood” thing, whereupon Snape draws his wand, which leads to good old Maggie Smith, Ma McGonagall, coming out and being a badass.

I love this shot of that moment, because you just know who it is immediately, and you’re already cheering before you see her up close. Because it’s just a badass thing to do. “Don’t you dare fucking hurt this boy, I’ll beat the shit out of you.” Because that’s why we love her. She’s been this way from the start.

This was originally the shot I chose for this moment, which conveys all the things I said up there (I love the look on her face. “I will fuck you up!”), but I felt the double was better, since I’d be able to talk about that other shot too.

Colin:

Yeah, I had to mention the shot of the Order, if only because it’s Kingsley Shacklebolt standing up front and Flitwick looking teeny off to the side. You’re looking at Kingsley step forward, but there’s Flitwick, too!

I guess I was into this particular duel because we’ve had a bunch of them so far and they always end up being two beams of electricity pushing at each other. That’s kind of boring, and the wands don’t move. Here, they’re firing off individual spells at one another and dodging and shit, instead of doing the turn-based thing we see with Molly Weasley and Bellatrix Lestrange. The way the spells shoot out like flares and the way they keep moving their wands around to attack and block in rapid succession makes it feel like fencing. And that’s a duel. This is what I wanted duels to look like from the get-go and it’s really the only one of its kind in the franchise. I was into it.

4. “Boom!”

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What else is there to say, really?

Colin:

I got nothing. It’s a line they knew was going to get you. Like Molly Weasley and the “bitch” line, only that feels hackneyed and shitty. This is awesome.

(I will also say, her other great moment in this scene is this: “I’ve always wanted to use that spell!”)

5. This shot

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My favorite single image in the film. Absolutely gorgeous.

Colin:

Colors. 

6. Snape’s Death

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We’re basically getting two great images in a single entry here. Technically Colin chose the first shot and I chose the second. So he’ll talk about the first one and I’ll talk about the second to save space.

Colin:

I was a big fan of this first shot because you know the snake is coming and then see the impacts from the other side of the glass. It’s a nice way of conveying the action without showing you directly. Like looking at a basilisk in a mirror or something. But seeing it from their point of view as he gets slammed by the snake several times in a row was pretty powerful. I was glad they didn’t just do a bunch of shots from his eyes or from the side or whatever. They could have very easily gone the Matrix route where the first bullet is from ahead (throat cut) and then the rest (snake bites) are seen hitting him from the side. Not nearly as interesting.

There is always something more vicious about stuff happening off-screen.

And I chose the second shot because it’s basically everything in a single image. Nearly all the information we get over the next scene (and next entry on the list), outside of Harry being a horcrux, is stated in this line, where Snape says, “You have your mother’s eyes.” We get all over people repeating that in this franchise, but this time, it means something. And it highlights the quality of Alan Rickman’s acting, that he can convey everything about this man in a single glance. So that’s why I chose this. The whole scene is great, and I thought that image conveyed everything succinctly (even if it is a bit of an obvious choice).

7. “Always”

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Of course Colin and I chose shots from this sequence.

I almost went with this shot, but that felt obvious and felt the Snape look up there covered it.

What’s funny to me is that we both ended up ultimately choosing a single image from the sequence. And they’re both one of the first five or six shots in the sequence, which I like even more. He chose the first image, and I chose the second one. So we’ll split up the blurbs again to save time.

Colin:

I love that first image because first of all — what the fuck is with that tree? It’s clearly a bizarre tree that only exists in the Harry Potter universe, and if it is in fact real, cut that shit down today. But more so, I like it because it acts as a silhouette shot. We’ve had a few of those before; the one that stands out in my mind is the one from The Goblet of Fire where they’re climbing the hill to the portkey. We both liked that one. I sort of like this one better because it’s a wide shot with sort of washed out color. Like Saving Private Ryan color correction, which I love in a flashback.

“Jenny taught me how to climb. I taught her how to dangle.”

I picked the second shot because it felt like it, again, encapsulated the entire sequence in a single image. It’s quite a beautiful image, and really highlights the tragedy that is the life of Severus Snape.

6. The Boy Who Lived, Going to Die

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I put two shots in this entry, but the one we both chose was this one.

I thought this moment was absolutely heartbreaking. And if Colin didn’t also include it, I still would have made sure it ended up here.

This moment kills me every time. Because this is the moment where Harry and Hermione’s relationship comes full circle. (Ron is again left out in the cold and ignored for the duration, and as such will not be mentioned henceforth in my comments.)

Harry has just found out that he has to die in order to defeat Voldemort. He’s now going out to face the music and passes by his friends along the way. And Hermione asks where he’s going, and he says to the forest and to Voldemort. Which of course she doesn’t understand. Until he says, “There’s a reason I can hear them. The horcruxes… I think I’ve known for quite a while. And I think you have too.” Which is what directly precedes this shot.

And what I love about all of that is the fact that it perfectly highlights their relationship. She’s figured a while ago that Harry might be and is probably a horcrux himself. And of course she’s probably been in denial about it because Harry’s her friend and because she’s not 100% certain. And then there’s Harry, who needs outside forces to tell him things in order to figure them out. This is pretty much the way he’s figured everything out this entire franchise. And it’s almost always after Hermione figures it out. So now she’s already figured it out, and he has just figured it out, and he’s saying, “Yeah… I know you know. I know too, now.” Which perfectly highlights their characters. (And, you know, that other part, in the back of the frame, too.)

But what’s even better than that is the fact that she just starts crying and says, “I’ll go with you.” Which, to me, is so heartbreaking, because you know that she did have it figured all along, but still doesn’t want it to be the way it’s gonna be. It’s a moment like this that shows why Hermione is a Gryffindor.

“I’ll go with you.” On its own, you get why that’s powerful. But then you think about it, there’s so many layers to it. She’ll go with him to the forest and die too, if that’s what it it’s gonna be. She’ll go with him to the forest and be with him as he goes to die, as his friend. She’ll go with him and try to help him fight. And then there’s the, “I’ll go with you,” even though this is one place she actually can’t go with him.

There aren’t too many moments in this franchise that legitimately make me choke up, and this is one of them.

Colin:

Since Mike just wrote everything, I’ll sum up with the line both of us have used throughout this franchise: if you have any emotional heavy lifting to do, give it to Hermione.

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I also wanted to include this shot because I love it as an image. It encapsulates this entire moment in a single frame. And I love that.

(And shout out to this shot as well, which I love as a pair with the one up there, because you get different levels of knowledge in both shots. In the second one, he knows more than they know, and it’s tragic because he has to tell them. And in the first one, everyone knows, and it’s tragic because they all know and because he’s going to die. So in actuality, it’s a trilogy. Since the very first shot up there is him actually telling them. So it’s before, during and after. And in all, a powerful moment no matter when you see it.)

9. Happy Voldemort

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Look at him. He’s so happy.

There are a bunch of shots to choose from this scene, and Colin and I each chose a few. So I felt we should just combine them into a single entry. Because why not celebrate Voldemort when he’s at his highest?

The one shot we both chose was this one:

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King Kong ain’t got shit on him.

I love that pose. That’s the pose you give when you have the crowd on your side and you’ve won.

Colin:

Exactly what I was thinking. That’s what I love about Voldemort — he’s a showman. Particularly during this scene, he conducts himself as a showman. I’m sure his ultimate goal is world domination or the eradication of muggles, or whatever, but seeing him act in this way at the end of this film you’re left with the impression that what he really always craved was an audience. The man loves a crowd.

And then Colin had this one in his choices:

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“From now on, you put your faith… in me.”

Colin:

I had to include this, too. Maybe Ray Fiennes is just too good an actor, but he’s got the drama thing down for Voldemort’s character. I watched an interview with him in which he discussed his inspiration for the character, and he said that for this film he had gone back to watch his nephew’s performance as the young Tom Riddle in the orphanage. He had a strong sense of the character being nothing more than a child who had rejected (and been rejected by) the world, grown up. This shot conveys the drama and the conceited nature of the character better than any other I’ve seen. They seriously got this casting right. 

And what would this article be without this moment:

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Most awkward hug ever. I can’t tell which shot I like more, the actual hug or his face right before the hug.

Colin:

I really don’t understand why he’s holding his wand so deliberately there. I said it was like he was going to use it to snip a lock of Draco’s hair, but it looks like he’s going to fire off a shot at someone over to the side or whatever. It’s bizarre. I like it.

Wouldn’t that be great, someone who hugs a person, then shoots them in the back of their head with their wand? Almost a mercy killing?

(… Harry Potter TV series idea.)

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This one technically isn’t happy Voldemort, but it’s during this scene and acts as a nice sendoff for Bellatrix, so I included it.

This is her being amused at the mention of the Longbottoms… you know, those people she tortured and drove to the point of catatonia.

Colin:

Look at that face. You can’t stay mad at that face.

Maybe a dentist could.

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And finally this moment, which I love (as I’m sure you all know from the articles).

This is after Neville has stepped forward and said his name. Voldemort says he’s sure they can find a place for him in their ranks (which is really accepting of him, to be honest). And then Neville interrupts him and says, “I’ve got something I want to say. And then I ain’t gonna say no more.” At which point, Voldemort does this. He gets really angry, like he wants to kill Neville, but then restrains himself and holds in his anger and forces himself to say, “Well, Neville I’m sure we’d all be fascinated to hear what you have to say.”

I just love the idea that he stops himself from murdering this kid because if he does, everyone else will be less willing to join his side. It’s such a great moment. Macro and micro. Macro, for those reasons, and micro because — look at that shot. He’s just, “Ohh, that motherfucker interrupted me, I wanna kill this fuck SO badly!”

Perhaps my single favorite Voldemort moment.

Colin:

This is the “count to ten” face. I enjoyed the shit out of this moment, cause you can see the inner dialogue working as he turns his head and makes the fist, as if he’s pumping the bile back down his own throat. This is a very close second to the “put your faith in me” shot above. This movie didn’t skimp on the Voldemort goods.

10. The Final Showdown

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Da na na na. Da na na na na.

I mean, that’s pretty much it. This is the moment the franchise has been building toward, and it’s this great wide shot and looks fantastic. What else is there to say?

Colin:

I would like to say how appropriate it is that Mike labeled this “The Final Showdown.” Of course, that’s what it is, so — fucking really. But Ray Fiennes also referred to it as “a High Noon final moment” in an interview, which I love. That he chose to represent this as a Western shootout. They do the crawling for their wands bit and get up and have the duel, and it is kind of like a Western in that respect. 

He even throws down his badge at the end of it.

(How long is it before Gollum finds the Elder Wand, again?)

– – – – – – – – – –

Honorable Mentions:

  • The Opening Shot

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Essentially, this is the opening shot. They start with the last few shots of Part 1, and then there’s the title card, and then there’s this.

It’s such an ominous opening, and really sets the tone for the rest of the film.

Plus it’s a beautiful image.

Colin:

It’s misty, there’s dementors everywhere — y’all’re fucked.

One of the Harry Potter TV series episodes is gonna be horror influenced, and we’re gonna cast you as the dude sitting outside the rural gas station, and that’s gonna be your exact dialogue.

  • Hermione

It’s basically one final send-off to why Hermione is the best character in the franchise.

First, because how how badass she is in action:

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Look at her take out a motherfucker! She first tally ho’s onto a dragon, then, as she’s holding on for dear life, turns around and, in a single motion, shoots one of the guards in the chest. That’s Double Tap Granger for you.

Colin:

She is a surprisingly good shot. At the beginning of the franchise, she was just smart. Now she’s a bullseye.

And then here’s Hermione doing what she does best — reacting to things:

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If there ever was the perfect face for, “God-DAMN! I wanna get fucked!” this is it.

Colin:

They’re ALL just shocked. She’s the only one that could process “awesome” in the split second before this shot.

  • Squibmalion

We both chose a Filch shot — since he has been one of the recurring themes of these shots articles. They’re both really funny shots and serve as a nice sendoff to one of the best comic relief characters of the franchise:

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I love this moment. He runs in like, “Students in the corridor! Do something!” and then realizes Snape isn’t running shit anymore. (Which, I love that Snape continued to keep him on after he took over. Death Eaters hate mudbloods, but apparently they have no problem with squibs.) And then everyone looks at him like, “Dude, what the fuck is wrong with you?” It’s so great. He feels like such an asshole right now.

Colin:

You can’t not enjoy the moment when the maniac runs in screaming, and then stops. Cause there’s that second or two between the screaming and realization where they’re thinking, “Holy fuck, this must be the zombie apocalypse, cause I’m the ONLY one who knows what the fuck is up.”

And…

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“Alas, poor Voldemort, I knew him.”

This shot is just hilarious to me. Just on its own. That’s not even counting the fact that in the entire shot, he’s sweeping, picks up a skull, looks at it, then tosses it back on the ground and goes back to sweeping. Since you know he’s the one’s gotta clean all this shit up. Plus I love that he’s doing it now, and doing it with a giant trail of blood that’s going along the floor next to him. This shot is funny to me for so many reasons.

(It’s also the last shot we chose for the film, as we said up there.)

Colin:

“Squiblet” sounds like a processed food I would not want to eat.

(Soylent Green for wizards.)

  • Beast Mode

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It’s Voldemort going nuts on the shield once the diadem is destroyed. Or, as I said in the article, “Now we know how he ejaculates.”

Colin:

It’s awesome cause look at Bellatrix. She can’t believe the shit that’s going on here. His sheer anger just demolishes the shield that several experienced witches and wizards spent time putting up. That the best you got? FUCK YOUR SHIELD! 

He just completely destroys this shield. It’s like that moment where you realize Goku’s been fucking around all this time and takes off his weighted clothing and completely dominates the rest of the battle because he was way stronger and faster than he let on previously.

I mean, it’s not entirely like that, since he didn’t fight at all before this, but it sort of is, since he just goes out of nowhere and DESTROYS the fucking thing. Meanwhile everyone else around him has been shooting at it for the past twenty-five minutes.

I also really liked this shot, but it skewed too close to the one up in the top ten, and one of the next two shots, and since they both amounted to the same choice, we stuck with Colin’s.

  • Gunfighter Shots

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I love both of these. The first shot, I didn’t even notice. Not when I watched the film, not when I took the shots, not when I made the articles, not when I edited them, not when I reread them. It was only when Colin chose the shot and I went, “Wait… why did he choose that?” did I realize how awesome it was. It’s literally a smoking gun! That’s amazing!

Colin:

Yes. It’s a smoking gun. In the context, it’s supposed to be that he put so much power through the wand that it cracked and is now smoking or steaming or whatever, but I went for the imagery of a magnum or something with smoke coming off of it. Every other wand is pretty normal. Light shoots out of them, they do stuff. This wand is a WEAPON. 

And the second shot I love because it’s your classic gunfighter shot but with a wand. I also love how it racks focus from Harry to the wand. It’s a great shot and always a favorite image of mine. I felt we could just combine the two into a single entry, and that’s what we did.

Colin:

The angle here also makes me think of Theoden bearing down on Wormtongue after being freed by the spell in The Two Towers. He had his sword cocked at a strange trailing angle, which is going on here too. But yeah, it’s clearly the gunfighter thing. He’s going to draw and murder Harry. 

  • This shot

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We both chose this, because it’s such a memorable image. I remember leading up to this movie, they released this image, which I fucking wish was a shot they used in the film, because I’d have put that on the list immediately. But they didn’t. This shot is still memorable as hell. The shield is falling, it looks like flames, and I think Colin will agree with me — having watched so many war movies, we just have a thing for bridges. It just felt like a really easy shot for the both of us to choose.

Colin:

Oh my god yes. Bridges get me going. Particularly because this is a wooden bridge with spindly supports that they’ve rigged to explode. So as I was watching the movie, I was imagining Neville and Seamus down under the bridge setting the dynamite and Seamus offers to tell Neville the name of the cemetery in exchange for the name on the headstone. But war movies, yes. What war movie HASN’T featured a bridge that needs to be taken, destroyed, or held? If your war movie doesn’t have any of those things, it’s lacking.

Also, we know who put up that forcefield, don’t we?

Colin:

Oh. It wasn’t being generated on the nearby forest moon of Endor?

Aww… Warwick Davis also played Wicket.

  • This shot

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Colin chose this shot, and I was originally going to say, “Why did you pick that?” until I realized.

I hated this shot in the movie. I thought it was stupid as hell. This moment is so dumb, the slow motion and him getting up, since it has that feel of autopilot. Here’s Neville, fulfilling his narrative destiny. Since we know what happens. So this shot made it seem like the movie was actively pointing out that it was coming. And it annoyed the shit out of me.

But, as a shot — that motherfucker in the back is FLYING through the frame, and that shit is absolutely hysterical. And I support this shot 100%.

Colin:

That’s what this was about. Fuck Neville (unless you’re Luna — in which case, please don’t) but having a slow motion shot like this with a guy flying through the background? Are you kidding? Plus it had muted sound, which always makes me want to write, “Miiii-iiiiiike!” We really need a clip of that to link to.

I still kinda like that some people might not know where that’s from. I don’t know if I want to give away all our references. I like that there are some that people need to figure out or just know. It’s always so much better when people get a reference and feel in on the joke.

  • Final Boss Status

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These two were entirely of my choosing. I just love the idea that Voldemort is the perfect final boss. He comes in after all the fighting has happened, comes and stalks Harry, has Harry on the run the whole time, and then acts like a G when they do start fighting.

I love the idea of him strolling up the steps, because that’s how a final boss walks into a room. You know no one’s gonna take a shot at you, and even if the other person isn’t necessarily afraid of you, they’re hiding behind shit and ducking your shots for at least the first few minutes of battle.

And then the second shot — you don’t pay much attention to it, but there are only three people in this franchise who hold their wands like this — Voldemort, Dumbledore, and Harry. Because they’re the only three who ever manage to have continuous streams coming out of their wands at once. And Harry never really is able to control his. He has to hold on tight, and a lot of it is his wand being matched with Voldemort’s. And Dumbledore does also get it, but never as badass as Voldemort does right here. This motherfucker’s firing off with one hand! And he always does. Overhead, with one hand. That’s fucking badass. Think about that. Think about how EVERYONE else in this franchise uses their wand, and then look at that shot.

Voldemort is a straight fucking gangsta.

Colin:

And with all that green, I’d say he’s repping for Grove Street.

  • Solitary Man shots

That’s what I’m calling these. They’re basically a bunch of shots of a person standing alone that I really enjoy.

Colin:

There’s only one song you can listen to while taking in these shots. Oh, I suppose you could listen to another song by the same band.

I can’t tell if you’re making a joke or being serious right now. I can’t tell whether or not to go along with it or be offended that you went with that song and not something else (namely the Neil Diamond original or the Johnny Cash cover, or, you know… not that).

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There’s not really much to say about them. It’s really the Voldemort shots I like, but I figured since we have a few of them, why not pile on?

I really love him standing at the boathouse, that’s a beautiful image. And him standing in the forest is good enough on its own to be a top ten.

Which, by the way, that reminds me of two other shots that didn’t make the list proper — this one, which I love because of Voldemort’s half-smirk. That, “This motherfucker actually showed up” look. That’s a moment of respect for Harry, is what that is. I really like that. And then this one:

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It’s the Boy Who Lived, Coming to Die. we love us some wide shots here, and technically it does count as a Solitary Man shot, since here’s Harry standing alone in the face of (as far as he knows) certain death.

Colin:

Everyone likes a shot of the hero ready to face up to an unbeatable opponent. They know they’ve had it (although obviously things turn out right in the end cause movies are boring that way) but they show up anyway. There’s something strange about that feeling, and it’s been captivating us forever. Some of my favorite movie moments are just like this.

That’s like me and alcoholism.

And, I figure we should end in the only way you really can end:

  • JUNGLE SLAP!

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He slaps the SHIT out of him!

Colin:

ARE YOU FUCKING KIDDING ME?! SLAPPED THE ABSOLUTE SHIT OUT OF HIM! Ka-KAH!

So those are our favorite images from this film.

– – – – – – – – – –

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… Well that boat’s no good.

– – – – – – – – – –

Tomorrow are our Final Thoughts, and Monday is A NewFranchise. (Hint hint.)

(See the rest of the Fun with Franchises articles here.)

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