Harry Potter and the Goblet of Fire

Harry Potter is back, and his new adventure, "Harry Potter and the Goblet of Fire" (Warner Bros.), conjures enough movie magic to cast a satisfying spell over audiences.

"Goblet of Fire" is the fourth movie adapted from the hugely popular fantasy novels by British author J.K. Rowling.

Directed by Mike Newell, the film is entertaining, intelligent and visually delicious, but despite considerable plot-pruning, at an unwieldy two hours and 37 minutes this "Goblet" runneth over a bit long.

Continuing the moodier tone set by 2004's "Harry Potter and the Prisoner of Azkaban," the new installment -- the darkest thus far -- is the first in the franchise to be rated PG-13.

From its spooky opening image, the film is probably too scary for young children, who might have nightmares, precisely what's plaguing the bespectacled hero (a more grown-up Daniel Radcliffe) at the story's outset. This is especially true for the scenes involving the "Death Eaters," agents of the evil Lord Voldemort (Ralph Fiennes in fearsome face makeup), who finally makes his much-anticipated appearance in the series.

But for most of "Goblet of Fire," the story revolves around a three-task, interscholastic competition known as the Triwizard Tournament to be hosted at Hogwarts.

Rooted on by Ron (Rupert Grint) and Hermione (a blossoming Emma Watson), Harry is chosen to compete along with Hogwartsian upperclassman Cedric Diggory, French enchantress Fleur Delacour, and a Bulgarian bruiser named Viktor Krum.

The dangerous trials pit them against fire-breathing dragons, menacing mermaids and a sinister hedge-maze. But to bashful Harry, those perils pale compared to the harrowing ordeal of finding a date for Hogwarts' annual Yule ball, injecting some lighthearted teen romance into the abracadabra action mix.

The onset of awkward adolescence adds an interesting new emotional dimension to the relationships of the three young leads, who continue to mature along with the story. (The film could have done without an eyebrow-raising scene in which a frisky girl ghost cozies up to a thoroughly embarrassed Harry while bathing.)

Dependable support is provided by returning British stalwarts Michael Gambon, Maggie Smith, Alan Rickman and Robbie Coltrane, as well as by newcomers Frances De La Tour, Miranda Richardson and Brendan Gleeson.

Like past "Potter" films, "Goblet" is a treat for the eyes. But after three films, it's getting harder to impress viewers with Quidditch matches and swooping shots of Hogwarts' candlelit banquet hall. And though exciting, the action sequences including a requisite Play Station-ready aerial broom chase feel a bit deja vu.

As with the magical elements in its predecessors, those in "Goblet of Fire" should be viewed as time-honored storytelling devices, like those employed throughout the history of Western fantasy literature from childhood fairy tales (Cinderella's pumpkin being turned into a carriage) to Arthurian legends and Shakespeare.

A reference by Voldemort about the "old magic" wrought by the sacrificial love of Harry's mother (who died protecting him in his infancy) seems to echo the salvific "Deeper Magic" spoken of in C.S. Lewis' Christian-allegorical "The Chronicles of Narnia."

Curbed is Harry's habit of rule-breaking. Perhaps as he matures, so has his sense of integrity, evidenced by his -- on more than one occasion -- endangering his chance of winning to do the honorable thing (that is, saving a life).

"Goblet of Fire" presents the clearest delineation between "right" and "wrong" in the series thus far, even introducing moral imperatives into the students' hocus-pocus curriculum.

Despite lots of wand-waving, the real victories are won through self-sacrifice. As Gambon's Dumbledore counsels, "We must face the choice between what is right and what is easy." Such life lessons would support the contention of Father Peter Fleetwood, a Vatican official formerly of the Pontifical Council for Culture, that "the chief concern of ... (Rowling) is to help children understand the conflict between good and evil."

The film contains frightening images, scenes of intense menace and some sexual innuendo. The USCCB Office for Film & Broadcasting classification is A-II -- adults and adolescents. The Motion Picture Association of America rating is PG-13 -- parents are strongly cautioned. Some material may be inappropriate for children under 13.

Get Rich or Die Tryin'

"Get Rich or Die Tryin'" (Paramount) could play as a double feature with this year's earlier release, "Hustle & Flow." Both movies try to sell audiences on rooting for street thugs -- a drug dealer and pimp, respectively -- by casting them as sensitive underdogs who overcome odds, and in this case death, to embrace their inner poets.

Loosely based on the life of rapper Curtis "50 Cent" Jackson, "Get Rich or Die Tryin'" is a disagreeable drama that follows an aspiring rapper, Marcus (Jackson), orphaned as a child (played by Marc John Jefferies), who peddles narcotics, serves time in prison, survives a near-fatal shooting and eventually turns his life around, quitting crime to pursue his dream of hip-hop stardom.

One of the movie's recurring themes is that to survive on the street one must discard compassion. "Love will get you killed" is an oft-repeated phrase, a mantra disproved by the benevolence of Marcus' grandparents (Viola Davis and Sullivan Walker) and his girlfriend (Joy Bryant), whose love ultimately saves his life.

Rounding out the cast are Terrence Howard as Bama, Marcus' combustible but loyal friend; Bill Duke as Levar, a ghetto godfather; and Andewale Akinnuoye-Agbaje as Majestic, Levar's ruthless lieutenant.

"Get Rich" tries unsuccessfully to be another "8 Mile," the 2003 film that similarly fictionalized the early struggles of fellow rapper Eminem. The shopworn inner-city narrative isn't helped by Jackson's labored lead performance -- though, admittedly, one not completely without charisma.

The film is directed by Jim Sheridan, marking a departure from his Irish-themed oeuvre which includes "In the Name of the Father," "My Left Foot" and "In America."

Sheridan tries to generate sympathy for Marcus by showing that, compared to the more vicious dealers, he is really a good guy -- defined here as aiming for the kneecap rather than the forehead.

But in doing so, Sheridan walks a thin line between fashioning a tale of redemption and glorifying the morally vacuous "gangsta" lifestyle, summed up by one character as "get paid and get laid."

By the end, the "resurrected" Marcus is presented as an almost Christlike figure, taking the concert stage, arms outstretched in cruciform with a cross emblazoned on the backdrop.

Earlier, during a prison-cell epiphany, Marcus does at least admit to doing "a lot of bad things," and commits himself to "telling the truth" in his music. The truth is there are many more deserving stories worth telling.

The film contains recurring strong violence, including brutal shootings, stabbings, beatings, a bloody scene of implied torture, drug content, sexual situations with partial nudity, a shower scene with rear and fleeting frontal nudity, as well as excessive rough and sexually explicit language. The USCCB Office for Film & Broadcasting classification is O -- morally offensive. The Motion Picture Association of America rating is R -- restricted.

David DiCerto is on the staff of the Office for Film & Broadcasting of the U.S. Conference of Catholic Bishops.