Harry Potter is having a tough time with his relatives (yet again). He runs away after using magic to inflate Uncle Vernon’s sister Marge who was being offensive towards Harry’s parents. Initially scared for using magic outside the school, he is pleasantly surprised that he won’t be penalized after all. However, he soon learns that a dangerous criminal and Voldemort’s trusted aide Sirius Black has escaped from the Azkaban prison and wants to kill Harry to avenge the Dark Lord. To worsen the conditions for Harry, vile shape-shifters called Dementors are appointed to guard the school gates and inexplicably happen to have the most horrible effect on him. Little does Harry know that by the end of this year, many holes in his past (whatever he knows of it) will be filled up and he will have a clearer vision of what the future has in store… —IMDb
Among the most successful and talked-about Mexican filmmakers of his generation, director Alfonso Cuarón has shown a remarkable versatility, able to embrace old-school Hollywood elegance as well as rough-edged and darker-themed contemporary stories. Cuarón was born in Mexico City in 1961; he went on to study both filmmaking and philosophy at the National Autonomous University of Mexico. After graduating, Cuarón began working in television in Mexico; in 1991, he landed his first big-screen directorial assignment. Sólo Con Tu Pareja was a dark comedy about a womanizing businessman who learns he’s contracted AIDS; the film was a massive hit in Mexico, and was enthusiastically received around the world.
In 1995, Cuarón released his first feature film produced in the United States, A Little Princess, a graceful and elegant adaptation of Frances Hodgson Burnett’s classic novel. Cuarón’s next feature was also a literary adaptation, a modernized version of Charles Dickens’ Great Expectations… read more
The more I watch this (and with my girlfriend, that's a lot) the more I'm impressed by the care taken with every aspect. Long takes abound, allowing cleverness in the frame and the performances, and framing and camera movement are classy and meaningful (peep the Lupin/Harry bridge scene, or Arthur/Harry) as opposed to the cover-everything-and-cut-to-hell style favored in later installments. Knight Bus way too long.