All the while watching this I wondered if, when these kids were initially cast, a computer aging program was used to judge how they'd look throughout

The 6 books: 1. Harry Potter and the Sorcerer's Stone Published: September, 1998 Sold: More than 24 million Movie released: Nov. 16, 2001 Worldwide box office: $969 Million (2nd highest) 2. Harry Potter and the Prisoner of Azkaban Published: June 1999 Sold: More than 20 million Movie released: Nov. 15, 2002 3. Harry Potter and the Prisoner of Azkaban Published: September, 1999 Sold: More than 16 million Movie: Production in February, 2003 for release in 2004 4. Harry Potter and the Goblet of Fire Published: July 2000 Sold 16 million Movie: Production expected to begin in spring 2004 for anticipated release in November, 2005 5. Harry Potter and the Order of the Phoenix Movie: Plans pending Source: L.A. Times 6. Harry Potter and the Half-Blood Prince Publication date: July 16, 2005 Movie: Pending

the series as they matured through the years that could produce profound changes in a young person. Whether the casting people employed this technology for predictive purposes or not, these kids are growing into their roles as organically sound as anyone might wish. Daniel Radcliffe, Rupert Grint and Emma Watson continue their positions at Hogwarts in complete safety from the ravages of maturation. The franchise is safe, as well.

The replacement for Harry's mentor, Prof. Dumbledore, is Michael Gambon, taking over for the deceased Richard Harris, and doing a splendidly soft and capable job of it. Gary Oldman is introduced as the title prisoner, himself and David Thewlis shows up as Professor Lupin (a lupo is a wolf, so watch that symbolism) who lectures on a wizard's defense against the Dark Arts.

The saga, in its third year, has grown darker, both in its visual dimensions and its hellish characters. Worst among these are the Dementors whose purpose is to suck the life out of you in a process that looks a lot like a digital vacuum cleaner. They are the guards at Azkaban from whom the Prisoner unexplainably managed to escape and now haunts the halls of Hogwarts looking for him while he looks for Harry, a dual pursuit that increases the horror aspects of the adventure.

At another lecture, new prof Hagrid the giant (Robbie Coltrane) introduces the wiles and policies of a potentially benign creature, the Hippogriff, a flying horse with the head of an eagle. Digitally sprung from the magic wands of the CGI artists, his soaring with Harry aboard is an uplifting experience for all of us who appreciate a good ride.

In this episode, so much time is spent on including juicy little vignettes of magic and invention from author Rowlands' mind that the story tension dissipates and the audience's mind travels in other directions. The shortest of the series so far, it feels the longest and suffers in need of a pair of sharp editorial cuts.

The most interesting of the magical developments is Hermione's use of a time travel necklace to send Harry and herself back to correct a few developments. Since in this zone, they are duplicates of themselves, they cannot be seen by anyone, so must hide while spying on their earlier selves, a juggling of realities with a special sense of magical power and danger.

Hitting on some cylinders, sputtering on others, the episode maintains its level of adventure with cleverness and style. Its visual realization is splendidly artful with the demonic element no great detriment (except in the design of the werewolf, perhaps). New director (to the series) Alfonso Cuaron, brought in off his successful children's story, "A Little Princess" (and not because of "Y tu mama tambien") does manage to highten the presence of danger. It's a shift that will work better for adults than for many of the younger impressionable minds that have grasped the Rowlands book to their hearts. These images might provoke more than a few nightmares in blue and pink bedrooms this year.

                                      ~~  Jules Brenner