Harry Potter and The Goblet of Fire

REVIEW:

Harry Potter and the Goblet of Fire feels like the moment the Wizarding World expands in scope and consequence. While The Prisoner of Azkaban had already started to steer the series into darker territory, this fourth instalment takes that momentum and builds upon it with layered storytelling and more mature themes. One of its standout strengths is the enriched world-building: we’re introduced to portkeys, the magical spectacle of the Quidditch World Cup, other wizarding schools beyond Hogwarts, and even get a glimpse into the Ministry of Magic’s judicial practices through memory flashbacks, like Igor Karkaroff naming Death Eaters to avoid Azkaban. There’s a sense now that magic exists far beyond the confines of the castle — and not all of it is comforting.

That said, I still missed the Dursleys. Oddly enough, the absence of their usual dreary presence makes the story feel like it starts mid-sentence. Every other film up to this point reintroduces us to Harry’s mundane, frustrating life in the Muggle world before sweeping us back into magic — and skipping that ritual breaks the rhythm. The book’s opening scene with the Weasley twins pranking Dudley with ton-tongue toffee could have added some much-needed levity and grounded the beginning before launching us into the chaos of the World Cup.

There’s something endlessly charming about Harry’s continued awe toward the magical world. When he steps inside the enchantingly vast tent at the Quidditch World Cup and says, “I love magic,” it feels like the most relatable line of the entire franchise. He says exactly what we’re thinking. It’s a line that, despite everything he’s endured, reminds us Harry is still capable of wonder — and through him, so are we.

Brendan Gleeson as Mad-Eye Moody is a triumph of casting. His performance is chaotic, intense, and magnetic — the kind of character who feels dangerous even when he’s on your side. He commands every scene with a twitch or a glare, but I’ve always questioned one key moment: when Harry’s name emerges from the Goblet. Why didn’t he immediately say, in front of the entire hall, “This is a mistake — I didn’t enter”? His stunned silence just makes him look guilty. It’s a small beat, but it always stands out to me — because the first thing I would have done is dispute it.

The first Triwizard task involving dragons is exhilarating, and the creature design is jaw-droppingly good. The Horntail feels truly lethal, and Harry’s aerial escape makes for a thrilling sequence. Still, I wish we’d gotten brief glimpses of how the other champions fared against their dragons. Even a short montage would have given the audience a sense of fairness — and made the tournament feel more like a competition and less like “Harry and Friends.”

The film’s energy noticeably dips as it lingers on the Yule Ball preparations. While I appreciate the coming-of-age elements and how they humanise these characters, the pacing suffers. There’s a lot of screen time devoted to teenage sulking, unrequited crushes, and awkward dancing. Some of it works — Hermione’s emotional arc is particularly strong — but overall it feels like a detour that overstays its welcome before we’re thrust back into more gripping material.

Once the third task begins, the film regains its footing. The maze is ominous and disorienting, and it serves as a perfect lead-in to one of the most disturbing moments in the series: Voldemort’s resurrection. His return is grotesque — his skin sickly and pale, his nose gone, making him look less like a man and more like a serpent. Ralph Fiennes is phenomenal, capturing a cold, theatrical malevolence that radiates menace with every word. Cedric’s death is quick and devastating, a gut-punch that signals the end of childhood innocence.

The climax is unforgettable. When Harry and Voldemort’s wands connect in a battle of wills, it’s not just visually stunning — it’s emotionally charged. The golden thread of magic, the ghostly apparitions, the sheer desperation — it all left me on the edge of my seat. And then, silence, as Harry returns with Cedric’s body and the tone of the entire Wizarding World shifts. The games are over. This film doesn’t just mark a turning point in the story — it makes you feel it.