Harry and friends, now on the run, must destroy the magical items sustaining Voldemort. The first half of the final novel – more or less – is a decent chase adventure, with a darker tone than before; the splitting of the source material allows for pacing to be improved, through the structure necessitates a forced cliffhanger bridge to Part 2.
Battle lines are drawn between Voldemort’s followers and others; Harry’s studies are supported by a mysterious textbook. Decent series entry, concerned with putting pieces in place for the final conflict. Not really a stand-alone movie, but series fans won’t mind that at all.
Voldemort’s rise develops; a fightback begins. Middling fifth instalment treading water between the establishment of the nemesis as a real threat, and its crystallisation; meanwhile, Hogwarts is put into special measures. Okay for fans, and well-enough done, but no classic.
After his premonition saves his friends and others, a student foresees the deaths of the survivors of a speedway disaster. Tatty continuation developing the foresight plotline, but with variable CG effects engineered for 3D. One sequence riffs on a notorious Chuck Palahniuk story. The least of the series, which rebounded with the superior next/last instalment.
Teens who avoid a fatal theme park accident find themselves targeted by Death. This third part avoids explicit story links to the first two, but borrows a further plot point from The Omen, and is a touch grislier and more mean-spirited than its predecessors. Some dark in-jokes lurk, though, and there’s a star-making central performance.
Strangers who narrowly miss being killed in a freeway pile-up find they are connected to those who died in the Flight 180 disaster aftermath. A sprightly sequel upping the first movie’s focus on blackly comic convoluted killing mechanisms, as Death seeks to restore order. Lots of fun, and contains maybe the greatest car crash in the movies.
A generation after the events of Mary Poppins, the magical nanny returns to the Banks family, this time to help them save their home. Despite care and affection for the original, this is a reprise rather than a sequel. Emily Blunt lacks the lightness of touch of Julie Andrews, and the songs tend to the unmemorable.