---
title: "Harry Potter and the Goblet of Fire"
year: 2005
kind: "film"
canonical: "https://film.one/film/harry-potter-and-the-goblet-of-fire"
fi1m_score: 68
critics_score: 69
critics_reviews: 16
published: "2026-09-19T15:35:11.346266+00:00"
updated: "2026-09-19T15:35:11.668946+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 Goblet of Fire (2005)

Directed by Mike Newell · 2h 37m · MPA PG-13 · Adventure, Fantasy

**Fi1m score: 68** · Critics 69 from 16 reviews

*In a sentence:* Dragons, mermaids and a dark lord, and the most frightening thing in it is asking a girl to the ball

> Mike Newell’s Potter is the first to feel like it was made by someone who remembers being fourteen. The tournament set pieces are noisy and the plot is shoved through at a run, but the ball, Gleeson and the ending are worth the wait.

## Synopsis

Harry Potter (Daniel Radcliffe) begins his fourth year at Hogwarts after a summer that ends badly: at the Quidditch World Cup, Death Eaters burn the campsite and a skull is cast into the sky. Back at school, Albus Dumbledore (Michael Gambon) announces the Triwizard Tournament, a contest between three wizarding schools, and pupils arrive from Durmstrang under Igor Karkaroff (Predrag Bjelac) and from Beauxbatons, among them Fleur Delacour (Clémence Poésy). Entrants must be seventeen. Harry is fourteen, and his name comes out of the goblet anyway, alongside Cedric Diggory (Robert Pattinson). Ron Weasley (Rupert Grint) thinks he cheated; Hermione Granger (Emma Watson) is caught between them. A new teacher, Alastor ‘Mad-Eye’ Moody (Brendan Gleeson), watches everything, and Harry has begun dreaming of an old house and a voice he knows.

## Review

Mike Newell’s *Harry Potter and the Goblet of Fire* is the fourth film and the first to carry a 12A, and it earns the certificate. The plot: Hogwarts hosts the Triwizard Tournament, a schools competition with dragons in it, and Harry’s name comes out of the goblet when it should not. Steve Kloves has cut J.K. Rowling’s novel to 157 minutes, dropping the Dursleys and most of the Ministry, and the film still moves at a sprint. What Newell has grasped, and the earlier directors did not quite, is that a fourteen-year-old is more frightened of the girl across the classroom than of anything with scales.

So the best scenes have no effects in them. Ron Weasley (Rupert Grint) unwraps a set of maroon dress robes with lace at the cuffs and holds them as if they had died. The boys are made to waltz with each other in a dancing lesson. Alan Rickman’s Snape patrols a silent study hall and clips heads as he passes. Grint is the funniest he has been, and his sulk about Hermione’s date carries the whole Yule Ball sequence; Emma Watson plays the end of that evening on the staircase and gets it right. We laughed at the robes and then felt for the boy in them, which is the right order.

Brendan Gleeson arrives as Alastor ‘Mad-Eye’ Moody with a wooden leg, a hip flask and a glass eye that swivels on its own, and he treats the part as a licence to frighten children for their own good. His first lesson is an interrogation with hexes. He is the film’s best new thing, and Newell holds on him a beat longer than the plot requires. Michael Gambon’s Dumbledore has become a shouter; when he grabs Harry by the collar it is the first time this Dumbledore has looked worried, and it helps.

Stuart Craig builds the World Cup stadium as a tower of tents and turns the Great Hall into a room of ice for the ball. Roger Pratt shoots the castle in November greys, then lights the ball gold, so it is the one place in the film anyone looks happy to be. Jany Temime’s costumes do a good deal of the storytelling: the Durmstrang boys in fur, the Beauxbatons girls in blue silk, the Weasleys in whatever was left. Patrick Doyle takes over the music and writes a proper waltz for the occasion; his tournament cues are brass and hurry.

The tournament is the trouble. The first task puts a dragon in an arena and then lets it out to chase Harry over the castle roofs, and once it is a chase it looks like every other chase. The second, underwater, is murky and long. Newell has no particular eye for action, and Mick Audsley cuts the set pieces hard to disguise it. Audsley has the harder job elsewhere, because the film keeps arriving at scenes it has not set up: the World Cup ends before a ball is thrown, and anyone who has not read the book will not know who Barty Crouch is or why the courtroom in Harry’s dream matters. David Tennant, as Barty Crouch Junior, flicks his tongue and is gone. We were bored in the lake and knew we were meant to be thrilled, which is worse.

Then Ralph Fiennes arrives, late, as Lord Voldemort, and we will say nothing about the circumstances. He plays him in a whisper, with a face that has lost its nose, and the film goes quiet for him; for perhaps ten minutes this is a horror film and a good one. We were unnerved, in a 12A, and had not expected to be. Daniel Radcliffe spends much of the film looking as if he is waiting for his cue and is at his best here, with nothing to do but be afraid. Robert Pattinson’s Cedric Diggory is upright, decent and slightly dull, which is the part.

Alfonso Cuarón’s *Harry Potter and the Prisoner of Azkaban* (2004) is the better-made film, shapelier and stranger. Newell’s is warmer and has too much in it. See it if you were ever fourteen and remember it without fondness, or if you have read the book and can forgive what the film threw away. Everyone else should sit through the tournament, keep a reader within reach, and wait for the ball and the last twenty minutes.

*Fi1m score 68, published 19 September 2026.*

## What the critics say

Most critics welcome this fourth film as the darkest and most grown-up of the series so far, and the credit goes largely to Mike Newell. The reviews agree that he draws better performances from the young leads than his predecessors did, with Daniel Radcliffe and Rupert Grint singled out, and that Ralph Fiennes’s Voldemort and Brendan Gleeson’s new teacher are the strongest additions. Several critics find more feeling in the teenage awkwardness of the Yule Ball than in the tournament itself.

The reservations cluster on length. Compressing a long novel into more than two and a half hours leaves the editing choppy and the plot hard to follow for anyone who has not read the book. Slant and Sight and Sound both find Newell has little gift for action sequences, and Screen Daily and Eye for Film think it lacks the distinctiveness of the previous film. The spread is wide: two reviews call it the best in the series, while Sight and Sound is the lone outright dissent.

### Reviews we read (16)

- **Los Angeles Times**, Kenneth Turan (90/100, inferred): Newell finally gets the series right with a wire-to-wire satisfying adventure that captures the books' excitement, featuring convincing new cast members and a natural heroism from Radcliffe's Harry. [Read](https://www.latimes.com/entertainment/movies/la-et-archives-harry-potter-goblet-of-fire-review-20170626-story.html)
- **The Telegraph** (4/5): The review hails the film as the best in the series to date for its greater depth, sorrow and fear factor, especially in scenes with Ralph Fiennes as Voldemort, crediting Mike Newell with revitalising the franchise while noting some dull stretches in its long runtime. [Read](https://www.telegraph.co.uk/films/2016/12/27/harry-potter-goblet-fire-2005-original-telegraph-review/)
- **Empire**, Angie Errigo (75/100, inferred): The critic praises the special effects action sequences, charm, and emotional depth brought to the young leads' performances while noting the director handles personal elements well. They criticize the challenges of compressing the lengthy novel, resulting in choppy editing and some unnecessary subplots. [Read](https://www.empireonline.com/movies/reviews/harry-potter-goblet-fire-review/)
- **The AV Club**, Tasha Robinson (75/100, inferred): The film is a well-acted, vividly executed special-effects extravaganza that pares the story to essentials while retaining momentum for fans. Newell and Kloves make reasonable cuts but the result still feels bulky at over two and a half hours. [Read](https://www.avclub.com/harry-potter-and-the-goblet-of-fire-1798201220)
- **Evening Standard**, Derek Malcolm (70/100, inferred): The critic highlights the film's focus on character and psychological insight, with strong performances from the young leads especially Rupert Grint, and notes it adds elements like sex and school memories. They express some skepticism about the source material's storytelling but conclude that fans will enjoy the sweep and intimacy of the adaptation. [Read](https://www.standard.co.uk/culture/film/harrys-greatest-challenge-7386190.html)
- **RogerEbert.com**, Roger Ebert (70/100, inferred): The film turns darker and more violent as Harry faces the Triwizard Tournament and Voldemort's return, balancing whimsy with ominous threats through strong performances and effective direction. [Read](https://www.rogerebert.com/reviews/harry-potter-and-the-goblet-of-fire-2005)
- **The Guardian**, Peter Bradshaw (70/100, inferred): The critic finds the film a handsomely made, good-natured family entertainment driven forward by director Mike Newell, who elicits stronger performances from the young cast than his predecessors. The Triwizard Tournament provides spectacle, but the story is hampered by its length and school-bound setting. [Read](https://www.theguardian.com/film/2005/nov/18/harrypotter)
- **The New York Times**, Manohla Dargis (70/100, inferred): The film marks Harry's transition from childhood with a darker tone and strong direction by Newell, highlighted by impressive effects and Ralph Fiennes' villainous turn as Voldemort. [Read](https://www.nytimes.com/2005/11/17/movies/the-young-wizard-puts-away-childish-things.html)
- **Time Out**, DA (70/100, inferred): Newell makes a fine job of the screenplay, making the film deliciously dark, wickedly funny and superbly mounted with strong performances. The main issue is the source material's length, leaving the plot confusing for non-readers. [Read](https://www.timeout.com/movies/harry-potter-and-the-goblet-of-fire-2)
- **Variety**, Todd McCarthy (70/100, inferred): The darkest Potter yet delivers intense storytelling and emotional reality under Newell's direction, with standout work from Radcliffe and Gleeson amid streamlined plotting and impressive effects. [Read](https://variety.com/2005/film/awards/harry-potter-and-the-goblet-of-fire-1200520391/)
- **Slant Magazine**, Jeremiah Kipp (65/100, inferred): Goblet of Fire is a workmanlike effort with an underlying sweetness in its approach to young love, though Newell shows no talent for action sequences. The best sequences involve the teens figuring out emerging sexuality rather than the conventional fantasy plot and effects. [Read](https://www.slantmagazine.com/film/harry-potter-and-the-goblet-of-fire/)
- **Screen Daily** (50/100, inferred): It is a solid but mostly uninspired melding of adventure and fright, neither as singular as the previous film nor as kid-pleasing as the first two. Newell juggles the tonal shifts and new characters with mixed success. [Read](https://www.screendaily.com/harry-potter-and-the-goblet-of-fire/4025125.article)
- **Sight and Sound**, Jonathan Barnes (30/100, inferred): The film never quite delivers on its promise despite a more distinctive tone than earlier entries. Newell excels with character moments and the emotional arc of adolescence but falters in the action sequences. [Read](http://old.bfi.org.uk/sightandsound/review/3088)
- **Digital Spy**, Daniel Saney (90/100, inferred): Mike Newell has produced the best Harry Potter film yet, funnier, more thrilling and more moving than predecessors, with strong direction, improved acting, and impressive visuals. The critic praises the adaptation's pacing and emotional depth, singling out Daniel Radcliffe's performance and the Yule Ball cameos. [Read](https://www.digitalspy.com/movies/a26505/harry-potter-and-the-goblet-of-fire/)
- **Den of Geek**, Mark Harrison (70/100, inferred): The film is an action-packed but somewhat undisciplined adaptation that preserves the book's intrigue and features some of the series' best action and one of the best endings, though it feels jumpy and pedestrian compared to the previous film. The critic highlights the terrifying Voldemort return sequence and strong performances like Brendan Gleeson's as standout elements. [Read](https://www.denofgeek.com/movies/looking-back-at-harry-potter-and-the-goblet-of-fire/)
- **Eye for Film**, Scott Macdonald (55/100, inferred): The film is a slightly frustrating, uneven experience with an anti-climactic finale, though still entertaining enough overall. The critic singles out the Yule Ball scenes as the best and most human moments, while noting missed opportunities and a lack of cinematic magic compared to the previous installment. [Read](https://www.eyeforfilm.co.uk/review/harry-potter-and-the-goblet-of-fire-film-review-by-scott-macdonald)

## Details

- **Director:** Mike Newell
- **Director:** Mike Newell
- **Screenplay:** Steve Kloves
- **Novel:** J.K. Rowling
- **Cinematography:** Roger Pratt
- **Editor:** Mick Audsley
- **Music:** Patrick Doyle, Jonny Greenwood
- **Production design:** Stuart Craig
- **Costume design:** Jany Temime
- **Producer:** David Heyman
- **Cast:** Daniel Radcliffe as Harry Potter; Rupert Grint as Ron Weasley; Emma Watson as Hermione Granger; Brendan Gleeson as Alastor 'Mad-Eye' Moody; Michael Gambon as Albus Dumbledore; Robert Pattinson as Cedric Diggory; Ralph Fiennes as Lord Voldemort; Robbie Coltrane as Rubeus Hagrid
- **Runtime:** 2h 37m
- **Certificate (MPA):** PG-13
- **Release (the US):** 18 November 2005
- **Genres:** Adventure, Fantasy
- **Budget:** $150 million
- **Box office:** $896 million
- **Trailer:** https://www.youtube.com/watch?v=4xkFJgcCQRE

## Where to watch in the US

- Peacock: streaming, hd
- HBO Max: streaming, uhd
- Hulu: add-on, hd
- Amazon Prime Video: add-on, uhd
- The Roku Channel: 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.*

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## Awards

- Academy Awards 2006: Best Production Design (nominated)
- BAFTA Film Awards 2006: BAFTA's Children & Young People Award - Feature Film (nominated); Best Makeup and Hair (nominated); Best Special Visual Effects (nominated)
- Hugo Awards 2006: Best Dramatic Presentation, Long Form (nominated)
- Kids' Choice Award for Favorite Movie 2006: Kids' Choice Award for Favorite Movie (won)
- MTV Movie Award for Best Hero 2006: MTV Movie Award for Best Hero (nominated)
- MTV Movie Award for Best On-Screen Duo 2006: MTV Movie Award for Best On-Screen Duo (nominated)
- MTV Movie Award for Best Villain 2006: MTV Movie Award for Best Villain (nominated)
- Teen Choice Award for Choice Movie - Drama 2006: Teen Choice Award for Choice Movie - Drama (won)
- Broadcast Film Critics Association Award for Best Family Film 2005: Broadcast Film Critics Association Award for Best Family Film (nominated)
- Satellite Award for Best Costume Design 2005: Satellite Award for Best Costume Design (nominated)
- Saturn Awards 2005: Best Costume (nominated)

## If you liked this

- *Harry Potter and the Prisoner of Azkaban* (2004), Fi1m 82: Cuarón’s entry and the best-shaped film of the series; watch the weather turn. — [Fi1m page](https://film.one/film/harry-potter-and-the-prisoner-of-azkaban.md)
- *Spirited Away* (2001), Fi1m 92: A girl, a bathhouse full of spirits, and a strangeness that never explains itself. — [Fi1m page](https://film.one/film/spirited-away.md)
- *Pan's Labyrinth* (2006), Fi1m 87: Fairy tale and civil war in one house; far darker, for older teenagers. — [Fi1m page](https://film.one/film/pans-labyrinth.md)
- *The Witches* (1990): Roeg’s Dahl, with a hotel of witches and a mouse who copes; properly frightening.
- *Stardust* (2007): A lighter English fantasy with a wall, a fallen star and villains enjoying themselves.

---
© 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-goblet-of-fire