Harry Potter and the Half-Blood Prince (Dir: David Yates)

The plot of "Half Blood Prince" could fit on a cocktail napkin. Harry returns to Hogwarts, does some more coming of age, and tries to avert an evil plot by the forces of darkness. Like the Potter films before it, the production is competent, but leaves me with no desire to ever see it again. Having read the books, the films feel like visual Cliffs Notes with the only surprise being how the cast and crew interpret the material.

Director Yates, who helmed the previous Potter installment, gives us the gloomiest film yet. The thin material gives him a chance to show off including a wonderful CGI-enabled tracking shot that moves across the windows of Hogwarts from a scene of young Ron in love to a pensive Draco staring out hoplelessly to a shot of dawn breaking over Hogwarts. Jim Broadbent as the name-dropping Professor Slughorn delivers his usual strong work and gives the film a humane center in the midst of the exposition heavy script and CGI-wizardry.

Public Enemies (Dir: Michael Mann)

So it seems that Director Michael Mann has permanently graduated from the use of film to muddy, mundane digital video. And it's a shame. In collaboration with cinematographer Dante Spinotti ("L.A. Confidential"), Mann brought us the visually lush "Last of the Mohicans" and "Heat." Even the less epic Russell Crowe muckraking film "The Insider" had a sharp, compelling presentation. Digital video (DV) is considerably cheaper which undoubtedly gives the director more control over the film. (Keep your film under budget and studios are more apt to stay out of your way.) DV, however, is ugly. It's pretty bad at capturing rapid movement, making action scenes less intelligible. DV is also apt to let light overpower an image and it takes away the traditional visual crispness associated with the heightened reality of cinema.

Mann first used DV in the Tom Cruise/Jamie Foxx film "Collateral" and it lent that film veracity and a feeling of "being there." In his follow-up "Miami Vice," Mann's use of digital video underlined the vapidity of the source material rather than allowing Mann to revel in the film's glitzy, dangerous setting. The cinematography in "Public Enemies" is mostly tolerable, but it still hobbles the film. Take for instance a scene where John Dillinger, played by Johnny Depp declares his undying love for girlfriend Billie (Marion Cotillard) while at a sun drenched Miami race track. The camera raises dramatically for an overhead shot of the couple and the lush Elliot Goldenthal score kicks in and the moment fizzles. Digital video, at least as used by Mann, is incongruous with traditional dramatic cinema technique.

The film does offer a fascinating take on bank robber Dillinger. He lived his life in public and was a fascination of the press and public. He flaunted the law and seemed to live above it. J. Edgar Hoover, played by the always excellent Billy Crudup, decides to take down Dillinger in order to boost the credibility of the under fire FBI. Mann packs his film with a solid supporting cast and offers a unique take on the gangster story, but his visual technique never allows the film to take off. Some great performances; a forgettable film.