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Harry Potter and the Prisoner of Azkaban (2004) BluRay 720p & 1080p

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Harry Potter and the Prisoner of Azkaban (2004)
142 min|Adventure, Family, Fantasy|04 Jun 2004
7.9Rating: 7.9 / 10 from 586,263 usersMetascore: 82
Harry Potter, Ron and Hermione return to Hogwarts School of Witchcraft and Wizardry for their third year of study, where they delve into the mystery surrounding an escaped prisoner who poses a dangerous threat to the young wizard.


Harry Potter (Daniel Radcliffe) is having a tough time with his relatives (yet again). He runs away after using magic to inflate Uncle Vernon’s (Richard Griffiths’) sister Marge (Pam Ferris), who was being offensive towards Harry’s parents. Initially scared for using magic outside the school, he is pleasantly surprised that he won’t be penalized after all. However, he soon learns that a dangerous criminal and Voldemort’s trusted aide Sirius Black (Gary Oldman) has escaped from Azkaban Prison and wants to kill Harry to avenge the Dark Lord.

To worsen the conditions for Harry, vile creatures called Dementors are appointed to guard the school gates and inexplicably happen to have the most horrible effect on him. Little does Harry know that by the end of this year, many holes in his past (whatever he knows of it) will be filled up and he will have a clearer vision of what the future has in store.


Review Harry Potter and the Prisoner of Azkaban

Review Harry Potter and the Prisoner of Azkaban

The greatest magic trick Harry Potter ever pulled? Growing up with his fanbase. Over the course of the last thirteen years, both J.K. Rowling’s novels and their big-screen adaptations have dared to age along with their readers and viewers, addressing increasingly complex issues and dramatically darker themes as the saga’s young devotees and equally young protagonists approached adulthood.It’s a particularly impressive feat considering the popular author or the wildly successful films could have followed an easier path. Rowling could have simply retained the tone and tenor of earlier entries, creating a colorful but toothless epic destined to fade from memory the moment her wide-eyed readers got their licenses and applied to college.

Likewise, the bottom-line wizards at Warner could have stuck with family-friendly director Chris Columbus, recast roles as their fledgling actors neared their twenties or simply slapped a coat of rose-petal paint on Rowling’s ever-darkening tale. But visionaries stood firm, organic storytelling prevailed and audiences have reaped the rewards. Harry Potter and his wondrous world have become an international phenomenon and untold billions have been earned all because an unwavering author and a shrew studio allowed a little boy and his fans to grow up.

Harry Potter and the Prisoner of Azkaban marks the saga’s first real step down a very winding, very frightening road. The lights dim deeper and the creatures snarl louder. The threats are unspeakable, forbidden magic hints at dangers unknown and the costs are higher than they’ve ever been. It’s more than that though. The series’ young actors come into their own, the story itself claws its way beneath the skin and Azkaban’s darkly dreaming director, Alfonso Cuarón (Y tu mamá también and Children of Men), delivers something more substantial than a strong Potter sequel he delivers a great fantasy film.

Murder is in the air, dear readers, and Azkaban Prison escapee Sirius Black (Gary Oldman) is its name. The vile madman’s intended target? Harry Potter (Daniel Radcliffe, in his first wholly realized performance), set to return for his third year of study at the Hogwarts School of Witchcraft and Wizardry. Of course, as other disciples of Lord Voldemort have learned, Potter isn’t the easiest student to kill. With the help of faithful friends and fellow students Ron (Rupert Grint) and Hermione (Emma Watson), Harry is forced to contend with his impending fate, as well as a number of menaces that descend on Hogwarts.

Vicious, wraith-like Dementors are on the prowl for Black, but take interest in the teenage wizard; thorn-in-Harry’s-side Draco Malfoy (Tom Felton) becomes more aggressive and more insidious than ever; fresh teachers, chief among them Defense Against the Dark Arts professor Remus Lupin (David Thewlis), rouse the young trio’s suspicions; and Voldemort’s influence seems to lurk around every shadowy corner. But as always, nothing is as it seems. Left to discern friend from foe, hero from villain, Harry takes his fate into his own hands, disregarding sage advice, discovering secrets beyond his comprehension, traveling through time and uncovering a truth far more terrifying than anything he bargained for.

While I suppose The Sorcerer’s Stone and The Chamber of Secrets were each delightful bits of fan service in their own right, The Prisoner of Azkaban is the first Harry Potter film in which all of the franchise’s various elements come together in one fulfilling whole. Radcliffe, Grint and Watson connect with their angsty teen incarnations far more than they ever did with their rosy cheeked tots, and their performances, whether by way of maturation or Cuarón’s watchful gaze, are more nuanced in every conceivable way. Radcliffe finally shoulders the crushing weight Rowling bestowed on the Potter clan, standing firm in spite of the blows that inch him toward the ground, and Watson finds the soul within her actress eyes, investing her all into Hermione’s whispers and cries.

(Grint doesn’t hit his stride until Goblet of Fire, but he still shows signs of some much-needed effortlessness in Azkaban.) Radcliffe’s elders rise to the young upstarts’ challenge as well. Veteran actor Michael Gambon’s Dumbledore is a sprier, steelier, sharper wizard than the late Richard Harris’ headmaster; Thewlis is a fantastic addition to the cast who captures Lupin’s duality and kindhearted resolve wonderfully; Alan Rickman and Maggie Smith, though both tackling smaller roles this time around, lend punch and presence to their scenes; and Emma Thompson is a breath of fresh comic relief. As an ensemble, the cast members embrace Cuarón’s tone and direction more than they ever did with Columbus, and everything from Michael Seresin’s stark cinematography to John Williams’ blackening score to Nick Dudman’s effective CG and practical effects follow suit.

Steve Kloves’ screenplay also strips Rowling’s Azkaban of anything that doesn’t directly contribute to the thrust of the narrative, making for a leaner, smarter, more spellbinding adaptation than his previous Potter scripts achieved. I’m sure readers will miss such secondary subplots, but the resulting film slithers along at a perfect pace and the snaking story never becomes ungainly.

For all the sleight-of-hand, double crosses, shocking reveals and new characters that grace the gloomy tale, Cuarón and Kloves maintain a tight ship, weaving subplots, payoffs and gut-punches with confidence and calculating precision. (Even when a parallel timeline exponentially complicates their efforts.) Better still, with older protagonists comes more meaningful dialogue. Conversations aren’t just employed as a means of exposition, they’re used to dissect every character, major and minor alike, that will come to play a crucial role in the trials ahead.

Seeds of future conflicts are planted, evolving themes are nurtured to emotionally powerful ends and Radcliffe and his cohorts are given real opportunities, not just contrived chances, to grow up before our very eyes. By the time Sirius exposes himself, it’s impossible to turn away. By the time Harry faces a swarm of Dementors, it’s his psychological development, not some thrilling final fight, that warrants attention.

By the time Hermione and Harry are racing to change the past, it becomes clear that Cuarón and Kloves know exactly what they’re doing. Regardless of how you feel about The Sorcerer’s Stone and The Chamber of Secrets — in my mind, they’re little more than expendable prequels — The Prisoner of Azkaban masterfully launches the Harry Potter saga into a bold, blazing future full of potential.

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