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This makes the Ministry, soon embodied at Hogwarts by its pink-adorned representative Dolores Umbridge (Imelda Staunton), look awfully out of touch, to the point of willful ignorance.Harry seeks help for his own cause, but receives it only in bits, which is further disheartening.
They are soon beset by Dementors and Harry takes wand action, forbidden in front of Muggles, of course.While Dumbledore argues for his continuing enrollment at Hogwarts, at school, the students are denied instruction in Defense Against the Dark Arts: snippy Umbridge teaches spells in a "secure, risk-free way," insisting "Theoretical knowledge will be enough to get you through the examinations." Such willful lack of preparedness inspires Harry to teach his fellows how to handle their wands.They do so under the name "Dumbledore's Army," inspired by Sirius' revelation to Harry that he and other self-aware wizards -- like Moody (Brendan Gleeson), Lupin (David Thewliss), and Snape (Alan Rickman) -- have organized into the secret Order of the Phoenix, something of an "underground" at staid and rule-bound Hogwarts.The more pertinent point about the kiss comes in its aftermath, when Harry remembers it for Ron (Rupert Grint) and Hermione (Emma Watson) -- neither having enough to do in this film. " Though Hermione is typically brilliant, suggesting that Cho Chang's tears at the time of the kiss were due to her mixed sadness and guilt over liking Harry when Cedric is barely gone, Ron is less perceptive: "You'd think a bit of snogging would cheer her up." Hermione again points out his boyish limits, noting he has "the emotional range of a teaspoon," and all three have a good laugh.But the respite is brief, for in seconds the kids are drawn back into the Voldemort puzzle, by way of a moderately ooky visit from Sirius Black (Gary Oldman, whose puckish energy is so very welcome in this self-serious franchise).This leads directly to his next lesson in darkness and confusion about adults' bad judgments, when he's set before a tribunal and nearly expelled from Hogwarts.
The ostensible reason is that he has broken rules, but the real one is the official denial of Voldemort's return.
Decidedly unspectacular, his earnest writhing and (frankly underwhelming) digitally spooky eyes recalls the complexity of the kiss in more explicit terms.
That the film leads Harry back round pretty much to where he started -- dreading the return of Voldemort, only next time believed by his fellows and even stuffy Fudge -- is a little tedious.
The puzzle has to do with Voldemort's ongoing pursuit of Harry, and Harry's emerging pursuit of him, which intimates the young man's own (potential) darkness.
The darkness is repeatedly imaged in Harry's head, or rather, visions visited upon him by Voldemort, suggesting the young wizard can commit violence and take weird pleasure in it.
Though he tells his students they need to know real-world applications ("Out there," he warns, "When you're a second away from being murdered or watching your friend die before your eyes... "), his lessons appear mostly as pretty CGI-ed shorthands (to survive the Dementors, you must conjure "happy" thoughts, like bunnies and puppies).