--- title: "Harry Potter and the Deathly Hallows: Part 1" year: 2010 kind: "film" canonical: "https://film.one/film/harry-potter-and-the-deathly-hallows-part-1" fi1m_score: 67 critics_score: 64 critics_reviews: 20 published: "2026-09-19T16:17:38.382899+00:00" updated: "2026-09-19T16:17:38.654727+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Harry Potter and the Deathly Hallows: Part 1 (2010) Directed by David Yates · 2h 26m · MPA PG-13 · Adventure, Fantasy **Fi1m score: 67** · Critics 64 from 20 reviews *In a sentence:* The most expensive camping holiday ever filmed, and the weather never once lifts > David Yates takes the seventh Potter film out of Hogwarts and into the rain, and the quiet suits the three leads better than any castle did. It is handsome, sad and honest, and for half an hour in the middle nothing happens at all. ## Synopsis Britain, and the Ministry of Magic is losing its war. The Minister, Rufus Scrimgeour (Bill Nighy), tells the press that these are dark times while Lord Voldemort (Ralph Fiennes) gathers his Death Eaters round a long table at Malfoy Manor. Hermione Granger (Emma Watson) wipes herself from her parents’ photographs. Harry Potter (Daniel Radcliffe) leaves Privet Drive escorted by six decoys drinking Polyjuice Potion, and is chased across the night sky. At a wedding at the Weasleys’ house the Death Eaters arrive, and Harry, Hermione and Ron Weasley (Rupert Grint) flee to a London café and then to the empty house at Grimmauld Place, where the house-elf Kreacher (voiced by Simon McBurney) is waiting. They have a locket to find and no one left to tell them how. ## Review David Yates has directed the seventh Harry Potter film as if it were a different kind of film altogether, and for long stretches it is. Steve Kloves’s screenplay takes the first half of J.K. Rowling’s last book and leaves Hogwarts out of it. The Minister for Magic, Rufus Scrimgeour (Bill Nighy), tells a room of reporters that these are dark times, Lord Voldemort (Ralph Fiennes) takes a wand from one of his own followers at a long dark table, and Harry Potter (Daniel Radcliffe), Hermione Granger (Emma Watson) and Ron Weasley (Rupert Grint) go on the run with a list of objects to find and nobody left alive to tell them how. It is a fugitive film, 146 minutes long, and it is half a story. Eduardo Serra shoots it in grey, brown and the dark green of wet bracken. He puts the three of them small in wide frames of moor and cliff and forest, so the country looks enormous and empty and they look like what they are, children who have left home without a plan. Stuart Craig builds the Ministry of Magic’s atrium round a black stone monument of wizards enthroned on a heap of crushed Muggles, and the Malfoys’ dining room as a long cold hall lit from one end. Jany Temime puts the trio in jeans, hoodies and anoraks, the clothes of people with nowhere in particular to be. The three leads have grown into it. Grint’s Ron is the surprise, sour with hunger and jealousy and the locket round his neck, and the row that comes of it is the best scene the three of them have played together in seven films. Watson carries the film. Early on, Hermione stands in her parents’ front room and makes herself vanish from every photograph on the mantelpiece, and Watson does it without a word. It moved us more than we thought a Potter film could: a girl deleting herself from her own family so they will not miss her when she goes. Radcliffe is watchful and sad and rather good at being unable to explain himself. Fiennes plays Voldemort softly, all breath and courtesy, and is far more frightening for it than when he shouts. Helena Bonham Carter’s Bellatrix Lestrange twitches and grins and plainly wants to be let off the leash. Alan Rickman gets two scenes as Snape and does more with a pause than most of the cast do with a page. Rhys Ifans’s Xenophilius Lovegood is a rattled eccentric in a house shaped like a rook, Andy Linden’s Mundungus Fletcher is a small-time thief who looks it, and Toby Jones voices Dobby with a squeak that turns out to have a spine in it. The trouble is the middle. Kloves keeps faith with the book, which means the film has to explain Horcruxes, which were explained last time, and then the Deathly Hallows, which are new, and the two sets of magical objects sit in the script like two shopping lists. Mark Day’s editing cannot find a shape for the weeks on the run: the trio Apparate to a moor, argue, Apparate to a forest, argue, Apparate to a beach. We were bored for the better part of half an hour, and then irritated, because each landscape is beautifully lit and nothing happens in it that had not happened in the last. Alexandre Desplat’s score keeps to piano and low strings and hardly ever swells, which suits the material and does nothing for the pace. Against the series’ own record this sits in the upper half. It is more grown-up than *Half-Blood Prince*, less shapely than *Prisoner of Azkaban*, and it has the honesty to be sad without apologising for it. What it does not have is an ending, because the book’s ending is in the other half. Watch it with the second part to hand and a free evening after it. Watched alone, it stops rather than finishes, and the stopping is the one thing about it that feels like a decision made in an office. *Fi1m score 67, published 19 September 2026.* ## What the critics say Most critics lean cautiously positive, and the praise gathers around one decision: leaving Hogwarts behind. Reviewers find this the darkest and loosest entry so far, and several credit David Yates with treating the trio’s relationships patiently now the school, its staff and its comforts are gone. The cinematography and production design are singled out, as is a short animated sequence that even the coolest reviews call the film’s best-looking passage. The three leads are widely thought to have grown into the roles. The reservations cluster almost entirely on the middle stretch, where the trio wanders the countryside and the plot stalls under exposition; “sluggish” recurs. Many question the choice to split the book, finding this half all setup and little payoff. The spread is wide, from Collider’s near-rave to Sight and Sound and Den of Geek, who find it inert and frustrating. The fan sites are warmer than the broadsheets, which is perhaps not surprising. ### Reviews we read (20) - **Screen Daily** (80/100, inferred): Part one reaches a level of maturity and depth that might help it cross over to skeptics and works well as a single film. It is elegantly directed with luminous cinematography and impressive production design. [Read](https://www.screendaily.com/harry-potter-and-the-deathly-hallows-part-1/5020429.article) - **Los Angeles Times**, Kenneth Turan (70/100, inferred): The film is described as solid and dependable in the hands of Yates, who treats the source material respectfully without taking risks. It notes the challenges of the 'Part 1' split and the emphasis on fidelity to the book. [Read](https://www.latimes.com/archives/la-xpm-2010-nov-18-la-et-harry-potter-20101118-story.html) - **The New York Times**, A.O. Scott (NYT Critic’s Pick): The review finds the film a somber, effective transition for the series as the young wizards leave Hogwarts behind for a dangerous adult world. It praises Yates for his sympathy with the characters and the story's rhythm. [Read](https://www.nytimes.com/2010/11/19/movies/19harry.html) - **Variety** (70/100, inferred): Yates delivers the series' most expansive and free-form chapter, dark and despairing as the trio ventures into the wilderness. It highlights resonant intimate moments and animation but notes occasional faltering under exposition. [Read](https://variety.com/2010/film/features/harry-potter-and-the-deathly-hallows-part-1-1117944031/) - **Empire**, Nick de Semlyen (65/100, inferred): The film leaves cosy trappings behind for a darker road-chase story but is bogged down by overplotting and a sluggish middle section with too many MacGuffins. Strong set-pieces and inventive effects stand out amid the pacing issues. [Read](https://www.empireonline.com/movies/reviews/harry-potter-deathly-hallows-part-1-review/) - **Evening Standard** (65/100, inferred): This is the bleakest entry yet, grim in tone and colour with the trio on the run facing huge odds and no Hogwarts scenes. It is gripping with effective magic and performances but ends too abruptly, leaving viewers sad. [Read](https://www.standard.co.uk/culture/film/first-review-harry-potter-and-the-deathly-hallows-part-1-7422511.html) - **The Guardian**, Peter Bradshaw (65/100, inferred): The critic notes that ditching Hogwarts makes the film feel looser and freer, showing unexpected signs of life. It remains weighed down by fidelity to the fanbase, plot quirks and mythical baggage. [Read](https://www.theguardian.com/film/2010/nov/18/harry-potter-and-the-deathly-hallows-part-1-review) - **Radio Times**, Steve Morrissey (3/5): The franchise runs aground with a drifting story, sluggish pacing and choppy transitions that will frustrate all but devoted fans. Some stunning set pieces and a beautiful animated segment redeem things considerably. [Read](https://www.radiotimes.com/movie-guide/b-eiqutm/harry-potter-and-the-deathly-hallows-part-1/) - **The Independent** (60/100, inferred): The film feels like an appetiser before Part 2, with strong ominous and scary opening sequences but sagging pacing in the middle as the trio wanders the countryside. It allows some adult themes and finishes strongly enough to whet appetites. [Read](https://www.independent.co.uk/arts-entertainment/films/reviews/first-night-harry-potter-and-the-deathly-hallows-part-1-2131928.html) - **Time Out**, Tom Huddleston (3/5): This is the least satisfying instalment since the first films, with too much expository middle and an episodic plot that wanders aimlessly. Some highlights exist but the decision to split the final book feels like a mistake. [Read](https://www.timeout.com/movies/harry-potter-and-the-deathly-hallows-part-1-1) - **The AV Club**, Tasha Robinson (C): Yates pushes his serious approach to extremes, resulting in an odd mix of action-fantasy and self-reflective indie elements that feels herky-jerky with glacial brooding alternating with rushed exposition and battles. The film is largely wheel-spinning setup that only intermittently sparks onscreen. [Read](https://www.avclub.com/harry-potter-and-the-deathly-hallows-part-1-1798166575) - **Slant Magazine**, Nick Schager (2/4): Yates delivers an inert, static affair that is all setup and no payoff, with excessive fidelity to the source material dragging proceedings and CG action undermined by poor editing. A brief animated interlude provides the only visual spark in an otherwise unmemorable and stretched-thin narrative. [Read](https://www.slantmagazine.com/film/harry-potter-and-the-deathly-hallows-part-1/) - **The Hollywood Reporter**, Todd McCarthy (50/100, inferred): The film offers a sober, faithful rendering of the first half of the Potter finale that is darker and less joyful than its predecessors. It excels in technical wizardry and expansive adaptation but can feel ponderous and tests the young leads without their usual supporting ensemble. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/harry-potter-deathly-hallows-part-44623/) - **Sight and Sound**, Sophie Mayer (30/100, inferred): The film struggles to dramatise swathes of exposition from the book and never quite thrills despite a clear theme of death and love. Yates is hampered by the need to set up the finale with endless dialogue rather than allowing moments of wonder or grief. [Read](http://old.bfi.org.uk/sightandsound/reviews/releases/harry-potter-deathly-hallows-pt-1.php) - **Collider**, Matt Goldberg (A-): The critic calls the film a triumph for casting aside Hogwarts comfort in favor of a quiet, contemplative, and sorrowful tone focused on uncertainty and the trio's relationships. Minor flaws include a rushed death and lack of a true climax, but it rewards audiences with organic shifts between tones. [Read](https://collider.com/harry-potter-deathly-hallows-part-1-movie-review/) - **Eye for Film**, Jeff Robson (4/5): The critic calls it the best in the series so far and comparable to Lord of the Rings, praising Yates' assured direction, thrilling set-pieces, and the lead actors' mature performances while noting some exposition issues. [Read](https://www.eyeforfilm.co.uk/review/harry-potter-and-the-deathly-hallows-part-i-film-review-by-jeff-robson) - **/Film**, Russ Fischer (8/10): The critic finds it one of the most satisfying Potter films, a moody and visually beautiful entry with superb cinematography and strong performances from the core trio, though noting some deus ex machina moments and its nature as the first half of a larger story. [Read](https://www.slashfilm.com/512326/movie-review-harry-potter-deathly-hallows-part-i/) - **The Wrap** (80/100, inferred): The critic praises the film for showing the young leads maturing into capable young adults over the series, with their forays into romance and danger making this entry rewarding. The balanced mix of drama, humor, effects, and new appreciation for the natural world is highlighted, along with Dobby's heroic death scene. [Read](https://www.thewrap.com/review-why-harry-potter-how-youve-grown-22639/) - **Paste**, Josh Jackson (75/100, inferred): The review praises the faithful, spacious adaptation of the book's first half that shows the trio's growth amid despair and self-doubt, highlighting the non-CGI dance scene and improved action. It notes the story feels incomplete as only half the tale, leaving an unsatisfying intermission. [Read](https://www.pastemagazine.com/movies/harry-potter/harry-potter-and-the-deathly-hallows-part-1-review) - **Den of Geek**, Simon Brew (3 out of 5): The critic notes that the film effectively conveys the passage of time and has a gripping first third with strong sequences and performances, but it drags in the middle with excessive camping and pacing issues, ultimately feeling frustrating and overlong as half of a story. [Read](https://www.denofgeek.com/movies/harry-potter-and-the-deathly-hallows-part-1-review/) ## Details - **Director:** David Yates - **Director:** David Yates - **Screenplay:** Steve Kloves - **Novel:** J.K. Rowling - **Cinematography:** Eduardo Serra - **Editor:** Mark Day - **Music:** Alexandre Desplat - **Production design:** Stuart Craig - **Costume design:** Jany Temime - **Producer:** David Barron, David Heyman, J.K. Rowling - **Cast:** Daniel Radcliffe as Harry Potter; Emma Watson as Hermione Granger; Rupert Grint as Ron Weasley; Toby Jones as Dobby (voice); Helena Bonham Carter as Bellatrix Lestrange; Alan Rickman as Severus Snape; Ralph Fiennes as Lord Voldemort; Bill Nighy as Rufus Scrimgeour - **Runtime:** 2h 26m - **Certificate (MPA):** PG-13 - **Release (the US):** 19 November 2010 - **Genres:** Adventure, Fantasy - **Budget:** $250 million - **Box office:** $954 million - **Trailer:** https://www.youtube.com/watch?v=Su1LOpjvdZ4 ## Where to watch in the US - Peacock: streaming, hd - HBO Max: streaming, uhd - The Roku Channel: add-on, hd - Amazon Prime Video: add-on, uhd - Hulu: add-on, hd - Amazon Prime Video: rent $4.99, uhd - Apple TV: rent $4.99, hd - Amazon Prime Video: buy $9.99, uhd - Apple TV: buy $14.99, hd *Checked 2026-09-19.* Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IS, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country. ## Awards - Academy Awards 2011: Best Production Design (nominated); Best Visual Effects (nominated) - BAFTA Film Awards 2011: BAFTA's Children & Young People Award - Feature Film (nominated) - Kids' Choice Award for Favorite Movie 2011: Kids' Choice Award for Favorite Movie (nominated) - MTV Movie Award for Best Villain 2011: MTV Movie Award for Best Villain (won) ## If you liked this - *Harry Potter and the Prisoner of Azkaban* (2004), Fi1m 82: The series’ first grey, grown-up entry, and still its most confidently shaped one. — [Fi1m page](https://film.one/film/harry-potter-and-the-prisoner-of-azkaban.md) - *Children of Men* (2006), Fi1m 85: Britain under a low sky, a fugitive with a burden, and nowhere safe to stop. — [Fi1m page](https://film.one/film/children-of-men.md) - *Watership Down* (1978), Fi1m 81: Small creatures cross an English countryside that wants them dead; children’s fiction unafraid of grief. — [Fi1m page](https://film.one/film/watership-down.md) - *Pan's Labyrinth* (2006), Fi1m 87: A child, a war and a fairy tale told straight, with real teeth in it. — [Fi1m page](https://film.one/film/pans-labyrinth.md) - *Spirited Away* (2001), Fi1m 92: A girl loses her parents and finds her nerve, drawn by hand from start to finish. — [Fi1m page](https://film.one/film/spirited-away.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/harry-potter-and-the-deathly-hallows-part-1