document_title: Harry Potter (film series)

question_text: show me a list of all the harry potter movies

question_tokens: show me a list of all the harry potter movies

text: Harry Potter (film series)

text: Origins

text: Late in 1997, film producer David Heyman's London offices received a copy of the first book in what would become Rowling's series of seven Harry Potter novels. The book, Harry Potter and the Philosopher's Stone, was relegated to a low-priority bookshelf, where it was discovered by a secretary who read it and gave it to Heyman with a positive review. Consequently, Heyman, who had originally disliked "the rubbish title", read the book himself. Highly impressed by Rowling's work, he began the process that led to one of the most successful cinematic franchises of all time.[11]

tag: p

text: Heyman's enthusiasm led to Rowling's 1999 sale of the film rights for the first four Harry Potter books to Warner Bros. for a reported £1 million (US$2,000,000).[12] A demand Rowling made was that the principal cast be kept strictly British, allowing nevertheless for the inclusion of many Irish actors, such as Richard Harris as Dumbledore, and for casting of French and Eastern European actors in Harry Potter and the Goblet of Fire where characters from the book are specified as such.[13] Rowling was hesitant to sell the rights because she "didn't want to give them control over the rest of the story" by selling the rights to the characters, which would have enabled Warner Bros. to make non-author-written sequels.[14]

text: Although Steven Spielberg initially negotiated to direct the first film, he declined the offer.[15] Spielberg wanted the adaptation to be an animated film, with American actor Haley Joel Osment providing Harry Potter's voice.[16] Spielberg contended that, in his opinion, there was every expectation of profit in making the film. He claims that making money would have been like "shooting ducks in a barrel. It's just a slam dunk. It's just like withdrawing a billion dollars and putting it into your personal bank accounts. There's no challenge".[17] In the "Rubbish" Bin section of her website, Rowling maintains that she had no role in choosing directors for the films, writing "Anyone who thinks I could (or would) have 'veto-ed' him [Spielberg] needs their Quick-Quotes Quill serviced."[18]

text: After Spielberg left, conversations began with other directors, including Chris Columbus, Jonathan Demme, Terry Gilliam, Mike Newell, Alan Parker, Wolfgang Petersen, Rob Reiner, Tim Robbins, Brad Silberling, and Peter Weir.[19] Petersen and Reiner both pulled out of the running in March 2000.[20] It was then narrowed down to Columbus, Gilliam, Parker, and Silberling.[21] Rowling's first choice was Terry Gilliam.[22] However, on 28 March 2000 Columbus was appointed as director of the film, with Warner Bros. citing his work on other family films such as Home Alone and Mrs. Doubtfire as influences for their decision.[23]

text: Harry Potter is the kind of timeless literary achievement that comes around once in a lifetime. Since the books have generated such a passionate following across the world, it was important to us to find a director that has an affinity for both children and magic. I can't think of anyone more ideally suited for this job than Chris [Columbus].

text: Steve Kloves was selected to write the screenplay for the first film. He described adapting the book as "tough" since it did not "lend itself to adaptation as well as the next two books". Kloves was sent a "raft" of synopses of books proposed as film adaptations, with Harry Potter being the only one that jumped out at him. He went out and bought the book, becoming an instant fan. When speaking to Warner Bros. he stated that the film had to be British and true to the characters.[24] David Heyman was confirmed to produce the film.[23] Rowling received a large amount of creative control for the film, an arrangement that Columbus did not mind.[25]

text: Warner Bros. had initially planned to release the first film over the 4 July 2001 weekend, making for such a short production window that several of the originally proposed directors had withdrawn themselves from contention. Eventually, due to time constraints, the date was put back to 16 November 2001.[26]

text: Casting the roles of Harry, Ron, and Hermione

text: In 2000, after a seven-month search, lead actor Daniel Radcliffe was discovered by producer David Heyman and writer Steve Kloves seated just behind them in a theatre. In Heyman's own words, "There sitting behind me was this boy with these big blue eyes. It was Dan Radcliffe. I remember my first impressions: He was curious and funny and so energetic. There was real generosity too, and sweetness. But at the same time he was really voracious and with hunger for knowledge of whatever kind."[11]

text: Radcliffe had already established himself as an actor in the 1999 BBC television production of David Copperfield in which he played the title role's childhood years. Heyman persuaded Radcliffe's parents to allow him to audition for the part of Harry Potter, which involved Radcliffe being filmed.[11] (This screen test footage was released via the first set of Ultimate Editions in 2009.)[27] Rowling was enthusiastic after viewing Radcliffe's filmed test, saying she didn't think there was a better choice for the part of Harry Potter.[11][28]

text: Also in 2000, the then unknown British actors Emma Watson and Rupert Grint were selected from thousands of auditioning children to play the roles of Hermione Granger and Ron Weasley, respectively. Their only previous acting experience was in school plays. Grint was eleven years old and Watson ten at the time they were cast.[29]

text: Los Angeles Times writer Geoff Boucher, who conducted the above-mentioned interview with Heyman, added that the casting of the three major roles "is especially impressive in hindsight. The trio's selection was arguably one of the best show-business decisions over the past decade... they have shown admirable grace and steadiness in the face of teen superstardom."[11][28]

text: Production

text: Filming of the series began at Leavesden Studios, Hertfordshire, England, in September 2000 and ended in December 2010, with post-production on the final film lasting until summer 2011.[6] Leavesden Studios was the main base for filming Harry Potter, and it opened to the public as a studio tour in 2012 (renamed as Warner Bros. Studios, Leavesden).[30]

text:
Motion Picture
Director
Writer
Producer(s) [n 1]
Composer
Novel by J. K. Rowling

Harry Potter and the Philosopher's Stone
Chris Columbus
Steve Kloves
David Heyman
John Williams
Harry Potter and the Philosopher's Stone

Harry Potter and the Chamber of Secrets
Harry Potter and the Chamber of Secrets

Harry Potter and the Prisoner of Azkaban
Alfonso Cuarón
Chris Columbus, David Heyman & Mark Radcliffe
Harry Potter and the Prisoner of Azkaban

Harry Potter and the Goblet of Fire
Mike Newell
David Heyman
Patrick Doyle
Harry Potter and the Goblet of Fire

Harry Potter and the Order of the Phoenix
David Yates
Michael Goldenberg
David Heyman & David Barron
Nicholas Hooper
Harry Potter and the Order of the Phoenix

Harry Potter and the Half-Blood Prince
Steve Kloves
Harry Potter and the Half-Blood Prince

Harry Potter and the Deathly Hallows – Part 1
David Heyman, David Barron & J. K. Rowling
Alexandre Desplat
Harry Potter and the Deathly Hallows

Harry Potter and the Deathly Hallows – Part 2

text: David Heyman produced all the films in the series with his production company Heyday Films, while David Barron joined the series as an executive producer on Chamber of Secrets and Goblet of Fire. Barron was later appointed producer on the last four films. Chris Columbus was an executive producer on the first two films alongside Mark Radcliffe and Michael Barnathan, but he became a producer on the third film alongside Heyman and Radcliffe. Other executive producers include Tanya Seghatchian and Lionel Wigram. J. K. Rowling, author of the series, was asked to become a producer on Goblet of Fire but declined. She subsequently accepted the role on the two-part Deathly Hallows.[31]

text: Heyday Films and Columbus' company 1492 Pictures collaborated with Duncan Henderson Productions in 2001, Miracle Productions in 2002, and P of A Productions in 2004. Even though Prisoner of Azkaban was the final film produced by 1492 Pictures, Heyday Films continued with the franchise and collaborated with Patalex IV Productions in 2005. The sixth film in the series, Half-Blood Prince, was the most expensive film to produce as of 2009[update].

text: Warner Bros. split the seventh and final novel in the series, Deathly Hallows, into two cinematic parts. The two parts were filmed back-to-back from early 2009 to summer 2010, with the completion of reshoots taking place on 21 December 2010; this marked the end of filming Harry Potter. Heyman stated that Deathly Hallows was "shot as one film" but released in two feature-length parts.[32]

text: Tim Burke, the visual effects supervisor of the series, said of the production on Harry Potter, "It was this huge family; I think there were over 700 people working at Leavesden, an industry in itself." David Heyman said, "When the first film opened, no way did I think we'd make eight films. That didn't seem feasible until after we'd done the fourth." Nisha Parti, the production consultant on the first film, said that Heyman "made the first film very much the way he felt the studio Warner Bros. wanted to make it." After the film's success, Heyman was given "more freedom".[33]

text: One of the aims of the filmmakers from the beginning of production was to develop the maturity of the films. Chris Columbus stated, "We realised that these movies would get progressively darker. Again, we didn't know how dark but we realised that as the kids get older, the movies get a little edgier and darker."[34] This transpired with the succeeding three directors who would work on the series in the following years, with the films beginning to deal with issues such as death, betrayal, prejudice, and political corruption as the series developed narratively and thematically.[5][35]

text: Directors

text: After Chris Columbus had finished working on Harry Potter and the Philosopher's Stone, he was hired to direct the second film, Harry Potter and the Chamber of Secrets. The production started within a week after the release of the first film. Columbus was set to direct all entries in the series,[36] but he did not want to return for the third film, Harry Potter and the Prisoner of Azkaban, claiming he was "burned out".[37] He moved to the position of producer, while Alfonso Cuarón was approached for the role of director. He was initially nervous about directing the instalment since he had not read any of the books or seen the films. After reading the series, he changed his mind and signed on to direct since he had immediately connected to the story.[38]

text: Because Cuarón decided not to direct the fourth instalment, Harry Potter and the Goblet of Fire, a new director had to be selected.[39] Mike Newell was chosen to direct the film, but he declined to direct the next film, Harry Potter and the Order of the Phoenix, which was given to David Yates, who also directed Harry Potter and the Half-Blood Prince and Harry Potter and the Deathly Hallows, becoming the only director to helm more than one film since Chris Columbus.

text: Chris Columbus said his vision of the first two films was of a "golden storybook, an old-fashioned look", while Alfonso Cuarón changed the visual tone of the series, desaturated the colour palette, and expanded the landscape around Hogwarts.[34][39] Mike Newell decided to direct the fourth film as a "paranoid thriller", while David Yates wanted to "bring a sense of jeopardy and character to the world".[40][41] Cuarón, Newell, and Yates have said that their challenge was striking a balance between making the films according to their individual vision, while working within a cinematic world already established by Columbus.[39][40][41]

text: David Heyman commented on the "generosity of the directors" by revealing that "Chris spent time with Alfonso, Alfonso spent time with Mike and Mike spent time with David, showing him an early cut of the film, talking through what it means to be a director and how they went about [making the films]."[42]

text: David Heyman also said, "I suppose Chris Columbus was the most conservative choice from the studio's point of view. But he expressed real passion."[33] Producer Tanya Seghatchian said they were "more adventurous" in choosing a director for the third film and went straight to Alfonso Cuarón.[33] Mike Newell became the first British director of the series when he was chosen for the fourth film; Newell was considered to direct the first film before he dropped out.[33] David Yates directed the final films after David Heyman thought him capable of handling the edgy, emotional, and political material of the later novels.[43]

text: All the directors have been supportive of each other. Chris Columbus praised the character development in the films, while Alfonso Cuarón admired the "quiet poetry" of David Yates' films.[34][39] Mike Newell noted that each director had a different heroism, and David Yates views the first four films "respectfully and enjoy[s] them."[40][41] Daniel Radcliffe said Yates "took the charm of the films that Chris made and the visual flair of everything that Alfonso did and the thoroughly British, bombastic nature of the film directed by Mike Newell" and added "his own sense" of realism.[44]

text: Scripts

text: Steve Kloves wrote the screenplays for all but the fifth film, which was penned by Michael Goldenberg. Kloves had direct assistance from J.K. Rowling, though she allowed him what he described as "tremendous elbow room". Rowling asked Kloves to remain faithful to the spirit of the books; thus, the plot and tone of each film and its corresponding book are virtually the same, albeit with some changes and omissions for purposes of cinematic style, time, and budget constraints. Michael Goldenberg also received input from Rowling during his adaptation of the fifth novel; Goldenberg was originally considered to adapt the first novel before the studio chose Kloves.[45]

text: In a 2010 interview, David Heyman briefly explained the book-to-film transition. He commented on Rowling's involvement in the series, stating that she understood that "books and films are different" and was "the best support" a producer could have. Rowling had overall approval on the scripts, which were viewed and discussed by the director and the producers. Heyman also said that Kloves was the "key voice" in the process of adapting the novels and that certain aspects from the books needed to have been excluded from the scripts due to the filmmakers' decision to keep the main focus on Harry's journey as a character, which would ultimately give the films a defined structure. Heyman mentioned that some fans "don't necessarily understand the adaptation process" and that the filmmakers would have loved to "have everything" from the books in the films but noted that it was not possible since they had "neither time nor cinematic structure" to do so. He finished by saying that adapting a novel to the screen is "a really considered process."[46]

text: Because the films were being made as the novels were being published, the filmmakers had no idea of the story's outcome until the release of the final novel in 2007. Kloves spoke of his relationship with Rowling when adapting the novels by saying, "The thing is about Jo, which is remarkable for someone who had no experience with the filmmaking process, was her intuition. We had a conversation the very first day I met her where she said, 'I know the movies can't be the books... because I know what's coming and it's impossible to fully dramatise on screen what I'm going to write. But I just ask you to be true to the characters; that's all I care about.'"[47] Kloves also said, "I don't know what compelled me to say this [to Rowling], but I said, 'I've just got to warn you my favourite character is not Harry. My favourite character is Hermione.' And I think for some weird reason, from that moment on, she sort of trusted me."[47]

text: Cast and crew

text: Aside from the three lead actors, other notable cast members include Robbie Coltrane as Rubeus Hagrid, Tom Felton as Draco Malfoy, Alan Rickman as Severus Snape, and Dame Maggie Smith as Minerva McGonagall. Richard Harris, who played the role of Professor Albus Dumbledore, died on 25 October 2002 causing the role to be re-cast for the third instalment, Harry Potter and the Prisoner of Azkaban. David Heyman and director Alfonso Cuarón chose Michael Gambon to portray the character of Dumbledore, which he did for all succeeding films. Notable recurring cast members include Helena Bonham Carter as Bellatrix Lestrange, Warwick Davis as Filius Flitwick, Ralph Fiennes as Lord Voldemort, Brendan Gleeson as Alastor Moody, Richard Griffiths as Vernon Dursley, Jason Isaacs as Lucius Malfoy, Gary Oldman as Sirius Black, Fiona Shaw as Petunia Dursley, Timothy Spall as Peter Pettigrew, David Thewlis as Remus Lupin, Emma Thompson as Sybill Trelawney, Mark Williams as Arthur Weasley, and Julie Walters as Molly Weasley.

text: The series has seen many returning crew members from various departments, including Tim Burke, visual effects supervisor; Peter Doyle, digital film colourist; Nick Dudman, make-up and creature effects designer; David Holmes, stunt double; Amanda Knight, make-up artist; Stephenie McMillan, set designer; Greg Powell, stunt coordinator; Jany Temime, costume designer; and Fiona Weir, casting director.

text: Set design

text: The production designer for all eight films is Stuart Craig. Assisted by Stephenie McMillan, Craig has created iconic sets pieces including the Ministry of Magic, the Chamber of Secrets, Malfoy Manor, and the layout for the CGI Horcrux Cave. Because the novels were being published as the films were being made, Craig was required to rebuild some sets for future films and alter the design of Hogwarts.[50]

text: He said, "In the early days, every time you saw the exterior of Hogwarts, it was a physical miniature," which was made by craftsmen and occupied a large sound stage.[52][53] "We ended up with a profile of how Hogwarts looked, a skyline that actually I didn't design, and it wasn't always satisfactory, and as all the novels got written and movies got made there were new requirements [for buildings]. The [Astronomy Tower] definitely wasn't there originally, and so we were able to add that substantial piece. And in the last film, we needed an arena for the battle for Hogwarts – the big courtyard outside doubled in size, and if you look at the first movie it wasn't there at all. There were quite some liberties taken with the continuity of Hogwarts."[54] In the last film, Craig used a digital model instead of a miniature to "embrace the latest technology".[53]

text: On the method of creating the sets, Craig said he often started by sketching ideas onto a blank sheet of paper.[55] Stephanie McMillan also said that "each film always had plenty of new challenges," citing the changes in visual style between directors and cinematographers as an example, along with the developing story in the novels. Due to J.K. Rowling's descriptions of various settings in the novels, Craig noted his "responsibility was to place it together".[56]

text: Craig commented on his experience working in the studio environment: "I'm the production designer, but on a big movie like Harry Potter I may be responsible for 30 to 35 people; from the supervising art director, and a team of art directors and assistants, to draughtsmen and junior draughtsmen, and then on to model makers, sculptors and scenic artists." He said, "Ten years ago, all the Harry Potter drawings were done in pencil. I would take my roughs and plans and sections and give them to a professional architectural illustrator, who would create concept art using pencil and colour wash on watercolour paper." He said the process changed slightly throughout the years due to, what he called, the "digital revolution" of making films.[53]

text: When filming of the series was completed, some of Craig's sets had to be rebuilt or transported for them to be displayed at the Warner Bros. studio tour.[52]

text: Cinematography

text: Six directors of photography worked on the series: John Seale on the first film, Roger Pratt on the second and fourth, Michael Seresin on the third, Sławomir Idziak on the fifth, Bruno Delbonnel on the sixth, and Eduardo Serra on the seventh and eighth. Delbonnel was considered to return for both parts of Deathly Hallows, but he declined, stating that he was "scared of repeating" himself.[57] Delbonnel's cinematography in Half-Blood Prince gained the series its only Academy Award nomination for Best Cinematography. As the series progressed, each cinematographer faced the challenge of shooting and lighting older sets (which had been around since the first few films) in unique and different ways.[58] Chris Columbus said the series' vivid colouring decreased as each film was made.[34][59]

text: Michael Seresin commented on the change of visual style from the first two films to Prisoner of Azkaban: "The lighting is moodier, with more shadowing and cross-lighting." Seresin and Alfonso Cuarón moved away from the strongly coloured and brightly lit cinematography of the first two films, with dimmer lighting and a more muted colour palette being utilised for the succeeding five films.[60] After comparing a range of digital cameras with 35 mm film, Bruno Delbonnel decided to shoot the sixth movie, Half-Blood Prince, on film rather than the increasingly popular digital format. This decision was kept for the two-part Deathly Hallows with Eduardo Serra, who said that he preferred to work with film because it was "more technically accurate and dependable".[61]

text: Because the majority of Deathly Hallows takes place in various settings away from Hogwarts, David Yates wanted to "shake things up" by using different photographic techniques such as using hand-held cameras and very wide camera lenses.[62] Eduardo Serra said, "Sometimes we are combining elements shot by the main unit, a second unit, and the visual effects unit. You have to know what is being captured – colours, contrast, et cetera – with mathematical precision." He noted that with Stuart Craig's "amazing sets and the story", the filmmakers could not "stray too far from the look of the previous Harry Potter films."[61][63]

text: Editing

text: Along with continuous changes in cinematographers, there have been five film editors to work in post-production on the series: Richard Francis-Bruce edited the first instalment, Peter Honess the second, Steven Weisberg the third, Mick Audsley the fourth, and Mark Day films five through eight.

text: Music

text: The Harry Potter series has had four composers. John Williams scored the first three films: Philosopher's Stone, Chamber of Secrets, and Prisoner of Azkaban. However, the second entry was adapted and conducted by William Ross due to Williams's conflicting commitments. Williams also created Hedwig's Theme, which is used in every film in the series.

text: After Williams left the series to pursue other projects, Patrick Doyle scored the fourth entry, Goblet of Fire, which was directed by Mike Newell, with whom Doyle had worked previously. In 2006, Nicholas Hooper started work on the score to Order of the Phoenix by reuniting with director David Yates. Hooper also composed the soundtrack to Half-Blood Prince but decided not to return for the final films.

text: In January 2010, Alexandre Desplat was confirmed to compose the score for Harry Potter and the Deathly Hallows – Part 1.[64] The film's orchestration started in the summer with Conrad Pope, the orchestrator on the first three Harry Potter films, collaborating with Desplat. Pope commented that the music "reminds one of the old days."[65] Desplat returned to score Harry Potter and the Deathly Hallows – Part 2 in 2011.[66]

text: Director David Yates stated that he wanted John Williams to return to the series for the final installment, but their schedules did not align due to the urgent demand for a rough cut of the film.[67] The final recording sessions of Harry Potter took place on 27 May 2011 at Abbey Road Studios with the London Symphony Orchestra, orchestrator Conrad Pope, and composer Alexandre Desplat.[68]

text: Doyle, Hooper, and Desplat introduced their own personal themes to their respective soundtracks, while keeping a few of John Williams's themes.

text: Visual effects

text: There have been many visual effects companies to work on the Harry Potter series. Some of these include Rising Sun Pictures, Double Negative, Cinesite, Framestore, and Industrial Light & Magic. The latter three have worked on all the films in the series, while Double Negative and Rising Sun Pictures began their commitments with Prisoner of Azkaban and Goblet of Fire, respectively. Framestore contributed by developing many memorable creatures and sequences to the series.[69] Cinesite was involved in producing both miniature and digital effects for the films.[70] Producer David Barron said that "Harry Potter created the UK effects industry as we know it. On the first film, all the complicated visual effects were done on the [US] west coast. But on the second, we took a leap of faith and gave much of what would normally be given to Californian vendors to UK ones. They came up trumps." Tim Burke, the visual effects supervisor, said many studios "are bringing their work to UK effects companies. Every facility is fully booked, and that wasn't the case before Harry Potter. That's really significant."[33]

text: Final filming

text: On 12 June 2010, filming of the Deathly Hallows – Part 1 and Deathly Hallows – Part 2 was completed with actor Warwick Davis stating on his Twitter account, "The end of an Era – today is officially the last day of principal photography on 'Harry Potter' – ever. I feel honoured to be here as the director shouts cut for the very last time. Farewell Harry & Hogwarts, it's been magic!".[71] However, reshoots of the epilogue scene were confirmed to begin in the winter of 2010. The filming was completed on 21 December 2010, marking the official closure of filming the Harry Potter franchise.[72] Exactly four years earlier on that day, author J. K. Rowling's official website revealed the title of the final novel in the series – Harry Potter and the Deathly Hallows.[73]

text: Films

text: Harry Potter and the Philosopher's Stone (2001)

text: Harry Potter is an orphaned boy brought up by his unkind Muggle (non-magical) aunt and uncle. At the age of eleven, half-giant Rubeus Hagrid informs him that he is actually a wizard and that his parents were murdered by an evil wizard named Lord Voldemort. Voldemort also attempted to kill one-year-old Harry on the same night, but his killing curse mysteriously rebounded and reduced him to a weak and helpless form. Harry became extremely famous in the Wizarding World as a result. Harry begins his first year at Hogwarts School of Witchcraft and Wizardry and learns about magic. During the year, Harry and his friends Ron Weasley and Hermione Granger become entangled in the mystery of the Philosopher's Stone which is being kept within the school.

text: Harry Potter and the Chamber of Secrets (2002)

text: Harry, Ron, and Hermione return to Hogwarts for their second year, which proves to be more challenging than the last. The Chamber of Secrets has been opened, leaving students and ghosts petrified by an unleashed monster. Harry must face up to claims that he is the heir of Salazar Slytherin (founder of the Chamber), learn that he can speak Parseltongue, and also discover the properties of a mysterious diary, only to find himself trapped within the Chamber of Secrets itself.

text: Harry Potter and the Prisoner of Azkaban (2004)

text: Harry Potter's third year sees the boy wizard, along with his friends, attending Hogwarts School once again. Professor R. J. Lupin joins the staff as Defence Against the Dark Arts teacher, while convicted murderer Sirius Black escapes from Azkaban Prison. The Ministry of Magic entrusts the Dementors of Azkaban to guard Hogwarts from Black. Harry learns more about his past and his connection with the escaped prisoner.

text: Harry Potter and the Goblet of Fire (2005)

text: During Harry's fourth year, Hogwarts plays host to a legendary event: the Triwizard Tournament. Three European schools participate in the tournament, with three 'champions' representing each school in the deadly tasks. The Goblet of Fire chooses Fleur Delacour, Viktor Krum, and Cedric Diggory to compete against each other. However, curiously, Harry's name is also produced from the Goblet thus making him a fourth champion, which results in a terrifying encounter with a reborn Lord Voldemort.

text: Harry Potter and the Order of the Phoenix (2007)

text: Harry's fifth year begins with him being attacked by Dementors in Little Whinging. Later, he finds out that the Ministry of Magic is in denial of Lord Voldemort's return. Harry is also beset by disturbing and realistic nightmares, while Professor Umbridge, a representative of Minister for Magic Cornelius Fudge, is the new Defence Against the Dark Arts teacher. Harry becomes aware that Voldemort is after a prophecy which reveals: "neither can live while the other survives". The rebellion involving the students of Hogwarts, secret organisation Order of the Phoenix, the Ministry of Magic, and the Death Eaters begins.

text: Harry Potter and the Half-Blood Prince (2009)

text: In Harry's sixth year at Hogwarts, Lord Voldemort and his Death Eaters are increasing their terror upon the Wizarding and Muggle worlds. Headmaster Albus Dumbledore persuades his old friend Horace Slughorn to return to Hogwarts as a professor as there is a vacancy to fill. There is a more important reason, however, for Slughorn's return. While in a Potions lesson, Harry takes possession of a strangely annotated school textbook, inscribed 'This is the property of the Half-Blood Prince'. Draco Malfoy struggles to carry out a deed presented to him by Voldemort. Meanwhile, Dumbledore and Harry secretly work together to discover the method on how to destroy the Dark Lord once and for all.

text: Harry Potter and the Deathly Hallows – Part 1 (2010)

text: After unexpected events at the end of the previous year, Harry, Ron, and Hermione are entrusted with a quest to find and destroy Lord Voldemort's secret to immortality – the Horcruxes. It is supposed to be their final year at Hogwarts, but the collapse of the Ministry of Magic and Voldemort's rise to power prevents them from attending. The trio undergo a long journey with many obstacles in their path including Death Eaters, Snatchers, the mysterious Deathly Hallows, and Harry's connection with the Dark Lord's mind becoming ever stronger.

text: Harry Potter and the Deathly Hallows – Part 2 (2011)

text: After destroying one Horcrux and discovering the significance of the three Deathly Hallows, Harry, Ron and Hermione continue to seek the other Horcruxes in an attempt to destroy Voldemort, who has now obtained the powerful Elder Wand. The Dark Lord discovers Harry's hunt for Horcruxes and launches an attack on Hogwarts School, where the trio return for one last stand against the dark forces that threaten the Wizarding and Muggle worlds.

text: Release

text: The rights for the first four novels in the series were sold to Warner Bros. for £1,000,000 by J.K. Rowling. After the release of the fourth book in July 2000, the first film, Harry Potter and the Philosopher's Stone, was released on 16 November 2001. In its opening weekend, the film grossed $90 million in the United States alone, which set a record opening worldwide. The succeeding three motion picture adaptations followed suit in financial success, while garnering positive reviews from fans and critics. The fifth film, Harry Potter and the Order of the Phoenix, was released by Warner Bros. on 11 July 2007 in English-speaking countries, except for the UK and Ireland, which released the movie on 12 July.[74] The sixth, Harry Potter and the Half-Blood Prince, was released on 15 July 2009 to critical acclaim and finished its theatrical run ranked as the number two grossing film of 2009 on the worldwide charts.

text: The final novel, Harry Potter and the Deathly Hallows, was split into two cinematic parts: Part 1 was released on 19 November 2010, and Part 2, the conclusion to both the final film and the series, was released on 15 July 2011.[75] Part 1 was originally scheduled to be released in 3D and 2D,[76] but due to a delay in the 3D conversion process, Warner Bros. released the film only in 2D and IMAX cinemas. However, Part 2 was released in 2D and 3D cinemas as originally planned.[77]

text: The television broadcast rights for the series in the United States are currently held by Disney–ABC Domestic Television, which typically airs the films on the Freeform network. Disney's contract is expected to end in June 2018, after which, NBCUniversal will take control of the rights, after their deal with Warner Bros. was made in August 2016.[78] The film series has accrued nearly 1.3 billion viewings since their television debut—the highest-watched franchise in television broadcast history.[79]

text: Reception

text: Critical response

text: All the films have been a success financially and critically, making the franchise one of the major Hollywood "tent-poles" akin to James Bond, Star Wars, Indiana Jones and Pirates of the Caribbean. The series is noted by audiences for growing visually darker and more mature as each film was released.[34][80][81][82][83] However, opinions of the films generally divide book fans, with some preferring the more faithful approach of the first two films and others preferring the more stylised character-driven approach of the later films.

text: Some also feel the series has a "disjointed" feel due to the changes in directors, as well as Michael Gambon's interpretation of Albus Dumbledore differing from that of Richard Harris. Author J. K. Rowling has been constantly supportive of the films,[84][85][86] and evaluated Deathly Hallows as her favourite one in the series. She wrote on her website of the changes in the book-to-film transition, "It is simply impossible to incorporate every one of my storylines into a film that has to be kept under four hours long. Obviously films have restrictions – novels do not have constraints of time and budget; I can create dazzling effects relying on nothing but the interaction of my own and my readers' imaginations".[87]

text: Critical and public response

text:
Motion Picture
Rotten Tomatoes
Metacritic
CinemaScore

Harry Potter and the Philosopher's Stone
80% (194 reviews)[88]
64 (35 reviews)[89]
A[90]

Harry Potter and the Chamber of Secrets
82% (230 reviews)[91]
63 (35 reviews)[92]
A+[90]

Harry Potter and the Prisoner of Azkaban
91% (250 reviews)[93]
82 (40 reviews)[94]
A[90]

Harry Potter and the Goblet of Fire
88% (247 reviews)[95]
81 (38 reviews)[96]
A[90]

Harry Potter and the Order of the Phoenix
78% (244 reviews)[97]
71 (37 reviews)[98]
A−[90]

Harry Potter and the Half-Blood Prince
84% (268 reviews)[99]
78 (36 reviews)[100]
A−[90]

Harry Potter and the Deathly Hallows – Part 1
78% (262 reviews)[101]
65 (42 reviews)[102]
A[90]

Harry Potter and the Deathly Hallows – Part 2
96% (311 reviews)[103]
87 (41 reviews)[104]
A[90]

text: Accolades

text: At the 64th British Academy Film Awards in February 2011, J. K. Rowling, David Heyman, David Barron, David Yates, Alfonso Cuarón, Mike Newell, Rupert Grint and Emma Watson collected the Michael Balcon Award for Outstanding British Contribution to Cinema for the series.[105][106]

text: In addition, the American Film Institute recognised the entire series with a Special Award at the American Film Institute Awards in 2011. Special awards "are given to outstanding achievements in the moving image that do not fit into AFI's criteria for the other honorees." [107] In its press release, the Institute referred to the films as "a landmark series; eight films that earned the trust of a generation who wished for the beloved books of J.K. Rowling to come to life on the silver screen. The collective wizardry of an epic ensemble gave us the gift of growing older with Harry, Ron and Hermione as the magic of Hogwarts sprung from the films and into the hearts and minds of Muggles around the world." [107]

text: Harry Potter was also recognised by the BAFTA Los Angeles Britannia Awards, with David Yates winning the Britannia Award for Artistic Excellence in Directing for his four Harry Potter films.[108][109]

text:
Motion Picture
Academy Award nomination
Academy Award nominee
Academy Award ceremony

Harry Potter and the Philosopher's Stone
Best Art Direction
Best Costume Design
Best Original Score
Stuart Craig and Stephenie McMillan
Judianna Makovsky
John Williams
74th Academy Awards

Harry Potter and the Prisoner of Azkaban
Best Original Score
Best Visual Effects
John Williams
Roger Guyett, Tim Burke, John Richardson and Bill George
77th Academy Awards

Harry Potter and the Goblet of Fire
Best Art Direction
Stuart Craig and Stephenie McMillan
78th Academy Awards

Harry Potter and the Half-Blood Prince
Best Cinematography
Bruno Delbonnel
82nd Academy Awards

Harry Potter and the Deathly Hallows – Part 1
Best Art Direction
Best Visual Effects
Stuart Craig and Stephenie McMillan
Tim Burke, John Richardson, Christian Manz and Nicolas Aithadi
83rd Academy Awards

Harry Potter and the Deathly Hallows – Part 2
Best Art Direction
Best Makeup
Best Visual Effects
Stuart Craig and Stephenie McMillan
Nick Dudman, Amanda Knight and Lisa Tomblin
Tim Burke, David Vickery, Greg Butler and John Richardson
84th Academy Awards

text: Six of the eight films were nominated for a total of 12 Academy Awards.

text: Some critics, fans, and general audiences have expressed disappointment that the Harry Potter series did not win any Oscars for its achievements. However, others have pointed out that certain films in the series had uneven reviews, in contrast to the three films of The Lord of the Rings, for example, which were all critically acclaimed. This has been partially attributed to the Harry Potter franchise going through several directors with their own styles in contrast to the Lord of the Rings trilogy, which was filmed in one massive undertaking by the same director, writer, and producer.[110][111]

text: Although not successful at the Oscars, the Harry Potter series has gained success in many other award ceremonies, including the annual Saturn Awards and Art Directors Guild Awards. The series has also gained a total of 24 nominations at the British Academy Film Awards presented at the annual BAFTAs, winning several, and 5 nominations at the Grammy Awards.

text: Philosopher's Stone achieved seven BAFTA Award nominations, including Best British Film and Best Supporting Actor for Robbie Coltrane.[112] The film was also nominated for eight Saturn Awards and won for its costumes design.[113] It was also nominated at the Art Directors Guild Awards for its production design[114] and received the Broadcast Film Critics Award for Best Live Action Family Film along with gaining two other nominations.[115]

text: Chamber of Secrets won the award for Best Live Action Family Film in the Phoenix Film Critics Society. It was nominated for seven Saturn Awards, including Best Director and Best Fantasy Film. The film was nominated for four BAFTA Awards and a Grammy Award for John Williams's score. Prisoner of Azkaban won an Audience Award, as well as Best Feature Film, at the BAFTA Awards. The film also won a BMI Film Music award along with being nominated at the Grammy Awards, Visual Effect Society Awards, and the Amanda Awards. Goblet of Fire won a BAFTA award for Best Production Design as well as being nominated at the Saturn Awards, Critic's Choice Awards, and the Visual Effects Society Awards.

text: Order of the Phoenix picked up three awards at the inaugural ITV National Movie Awards.[116] At the Empire Awards, David Yates won Best Director.[117] Composer Nicholas Hooper received a nomination for a World Soundtrack Discovery Award.[118] The film was nominated at the BAFTA Awards, but did not win for Best Production Design or Best Special Visual Effects.[119] Half-Blood Prince was nominated for BAFTA Awards in Production Design and Visual Effects,[120] and it was in the longlists for several other categories, including Best Supporting Actor for Alan Rickman.[121] Amongst other nominations and wins, the film also achieved Best Family Movie at the National Movie Awards as well as Best Live Action Family Film at the Phoenix Film Critics Society Awards, along with being nominated for Best Motion Picture at the Satellite Awards.

text: Deathly Hallows – Part 1 gained two nominations at the BAFTA Awards for Best Make-Up and Hair and Best Visual Effects, along with receiving nominations for the same categories at the Broadcast Film Critics Association Awards. Eduardo Serra's cinematography and Stuart Craig's production design were also nominated in various award ceremonies, and David Yates attained his second win at the Empire Awards, this time for Best Fantasy Film. He also obtained another Best Director nomination at the annual Saturn Awards, which also saw the film gain a Best Fantasy Film nomination.[122][123] Deathly Hallows – Part 2 was released to critical acclaim, gaining a mix of audience awards. Part 2 of Deathly Hallows was also recognised at the Saturn Awards as well as the BAFTA Awards, where the film achieved a win for Best Special Visual Effects.[124]

text: Box office performance

text: As of 2017[update], the Harry Potter film series is the 2nd highest-grossing film franchise of all time, with the eight films released grossing over $7.7 billion worldwide. Without adjusting for inflation, this is higher than the first 22 James Bond films and the six films in the Star Wars franchise.[125] Chris Columbus's Philosopher's Stone became the highest-grossing Harry Potter film worldwide upon completing its theatrical run in 2002, but it was eventually topped by David Yates's Deathly Hallows – Part 2, while Alfonso Cuarón's Prisoner of Azkaban grossed the least.[126][127][128][129]

text: Six films in the Harry Potter franchise — Harry Potter and the Prisoner of Azkaban, Harry Potter and the Goblet of Fire, Harry Potter and the Order of the Phoenix, Harry Potter and the Half-Blood Prince and Harry Potter and the Deathly Hallows, Parts 1 & 2 — have to date grossed around $216 million in IMAX theaters worldwide.[130]

text:
Motion picture
Release date
Box office gross
Budget
Ref(s)

United Kingdom
USA & Canada
(approx. ticket sales)
Other countries
Worldwide

Harry Potter and the Philosopher's Stone
16 November 2001 (2001-11-16)
£66,096,060
$317,575,550
(55,976,200)
$657,179,821
$974,755,371
$125 million
[131][132][132][133][134]

Harry Potter and the Chamber of Secrets
14 November 2002 (2002-11-14)
£54,780,731
$261,988,482
(44,978,900)
$616,991,152
$878,979,634
$100 million
[133][134][135][136]

Harry Potter and the Prisoner of Azkaban
31 May 2004 (2004-05-31)
£45,615,949
$249,541,069
(40,183,700)
$547,147,480
$796,688,549
$130 million
[133][134][137]

Harry Potter and the Goblet of Fire
18 November 2005 (2005-11-18)
£48,328,854
$290,013,036
(45,188,100)
$606,898,042
$896,911,078
$150 million
[133][134][138][139]

Harry Potter and the Order of the Phoenix
11 July 2007 (2007-07-11)
£49,136,969
$292,004,738
(42,442,500)
$647,881,191
$939,885,929
$150 million
[133][134][140][141]

Harry Potter and the Half-Blood Prince
15 July 2009 (2009-07-15)
£50,713,404
$301,959,197
(40,261,200)
$632,457,290
$934,416,487
$250 million
[133][134][142][143]

Harry Potter and the Deathly Hallows – Part 1
19 November 2010 (2010-11-19)
£52,364,075
$295,983,305
(37,503,700)
$664,300,000
$960,283,305
Less than $250 million (official)
[133][134][144][145][146]

Harry Potter and the Deathly Hallows – Part 2
15 July 2011 (2011-07-15)
£73,094,187
$381,011,219
(48,046,800)
$960,500,000
$1,341,511,219
[134][146][147]

Total
£440,269,736
$7009239007659600000♠2,390,076,596
$7009533335497600000♠5,333,354,976
$7009772343157200000♠7,723,431,572
$1.155 billion
[148]

text: All-time rankings

text:
Motion picture
Rank
Ref(s)

All-time
(worldwide)
All-time
(United States)
All-time
(United Kingdom)
Yearly
(United States)
Yearly
(worldwide)
Opening day
(all-time)
Opening weekend
(all-time)

Philosopher's Stone
#29
#54
#9
#1
#1
#66
#55
[131]

Chamber of Secrets
#46
#90
#17
#4
#2
#81
#60
[133][135][136]

Prisoner of Azkaban
#62
#106
#33
#6
#2
#47
#49
[133]

Goblet of Fire
#42
#77
#28
#3
#1
#41
#40
[133][138][139]

Order of the Phoenix
#38
#73
#25
#5
#2
#34
#77
[133][140][141]

Half-Blood Prince
#39
#65
#24
#3
#2
#24
#75
[133][142][143]

Deathly Hallows – Part 1
#34
#68
#18
#5
#3
#22
#25
[133][144][145]

Deathly Hallows – Part 2
#8
#27
#7
#1
#1
#3
#8
[147][149]

text: Legacy and influence

text:
"Harry Potter was in the vanguard of a new approach to big-budget film-making. Most modern blockbuster franchises have two things in common: they are based on known properties such as books and comics, and they are steered by respected but little-known directors."

—The Economist[150]

tag: div

text: The Harry Potter films and their success have been retrospectively considered to have had a significant impact on the film industry. They are cited as having helped redefine the Hollywood blockbuster in the 21st century by initiating a shift toward established media franchises forming the basis of successful films. In the wake of the final film's release, Claudia Puig of USA Today wrote that the films "inspired every major studio to try to capture [its] alchemic formula, spawning a range of copycats and wannabes" and "also have shown Hollywood how to make a glossy blockbuster with an eye toward keeping costs down."[151] A 2009 article from The Economist argued that the films were "in the vanguard" of adaptations of established properties being the modern film franchise model, citing The Lord of the Rings, Spider-Man and The Dark Knight Trilogy as examples of successful film series that followed Harry Potter's suit.[150] Furthermore, the practice of splitting the finale of a film series into two back-to-back films began with the success of Deathly Hallows, and it would soon be replicated by The Hobbit: The Desolation of Smaug and The Battle of the Five Armies, The Twilight Saga: Breaking Dawn – Parts 1 and 2, The Hunger Games: Mockingjay – Parts 1 and 2, and Avengers: Infinity War and its untitled sequel.[152]

text: The films are also widely credited with singlehandedly signalling the popularity of films based on children's and young adult literature in the 2000s and 2010s, correlating with the book series' own literary influence. Costance Grady and Aja Romano, commenting on the whole Harry Potter franchise's legacy for Vox in light of its 20th anniversary, wrote that youth-targeted literature has since become "a go-to well of ideas for Hollywood," pointing to the successes of The Twilight Saga, The Hunger Games and The Divergent Series.[153]

text: Notes

text: Jump up ^ Not including executive producers.

tag: ol


document_title: Honda CR-V

question_text: when did honda start using cvt in crv

question_tokens: when did honda start using cvt in crv

root

text: Honda CR-V

text: First generation (1995–2001)[edit]

text:
First generation (RD1–RD3)

Overview

Production
1995–2001

Model years
1997–2001

Assembly
Swindon, United Kingdom (HUKM)
Sayama, Japan
Hsinchu, Taiwan
Santa Rosa, Laguna, Philippines (Honda Santa Rosa, Laguna Plant)
Ayutthaya, Thailand (Honda Ayutthaya Plant)
Karawang, Indonesia (Honda Karawang Plant)

Designer
Hiroyuki Kawase (1993)

Body and chassis

Related
Honda Civic (sixth generation)
Honda Integra

Powertrain

Engine

2.0 L B20B I4
2.0 L B20Z I4

Transmission
5-speed manual
MDMA 4-speed automatic
MDLA 4-speed automatic

Dimensions

Wheelbase
2,620 mm (103 in)
2,625.1 mm (103.35 in) (post-facelift)

Length
4,510 mm (178 in)

Width
1,780 mm (70 in)

Height
1,678 mm (66.1 in)1997–1998 (2WD version)
1,700 mm (67 in) 1997–1998(4WD LX)
1,725 mm (67.9 in) 1997–1998 (2WD EX 126 BHP)
1,745 mm (68.7 in) 1999–2001 (2WD EX 146 BHP 2.0 Engine)
1,755 mm (69.1 in) 1999–2001 (4WD EX 146 BHP 2.0 Engine)
1,770 mm (70 in) 1999–2001 (4WD EX-L With Navigation)

tag: table

text: Introduced in Japan in 1995 as a concept[citation needed], the CR-V (Chassis Code RD1-RD3) was Honda's first in-house designed sport utility vehicle by Hiroyuki Kawase. The CR-V was introduced in Japan at Honda Verno dealerships only and was regarded as a luxury vehicle in Japan due to the exterior width dimensions exceeding Japanese Government dimension regulations. For North American market, it was displayed at the 1996 Chicago Auto Show and went on sale in February 1997.

text: Upon introduction, the model had only one trim level, which would later be known as the LX model trim; it was powered by the 2.0 L straight-four B20B producing 126 hp (94 kW) at 5400 rpm and 133 lb⋅ft (180 N⋅m) of torque at 4800 rpm. Outer dimensions for this engine would be identical to the Integra's 1.8 L engine, but internally the engine had a larger 84 mm (3.3 in) bore to add the extra displacement needed to produce more torque. The engine utilized a one-piece cylinder sleeve construction unique from any other B-series engine. The chassis was a unibody design with a four-wheel double wishbone suspension. Inside, the rear seats were able to fold down, and a picnic table was stowed in the rear floor area. A common external trait that was visible with this generation was plastic cladding covering the front bumper, rear bumper, and fender wells. In most countries, CR-Vs had a chrome grille; however, in the United States, the grille was made out of the same black plastic as the bumpers. A major difference between the LX and EX trims was that the EX had anti-lock brakes and 15 inch alloy wheels while the LX did not. Drivetrain options were front-wheel drive or Honda's Real Time AWD.

text: Facelift[edit]

text: Although the body style remained the same as the first generation, an update was made from 1999 to 2001 in response to criticism that the original engine lacked enough power for a vehicle of its weight – 3,200 lb (1,500 kg). The engine was changed to the 2.0 L B20Z engine, producing 147 hp (110 kW) at 6200 rpm and 133 lb⋅ft (180 N⋅m) of torque at 4500 rpm. Fuel economy of 23 mpg‑US (10 L/100 km; 28 mpg‑imp) city/28 mpg‑US (8.4 L/100 km; 34 mpg‑imp) highway (US) and price were not affected by the increase in power, which was the result of a higher compression ratio (9.6:1 compared to the B20B's 8.8:1), a new intake manifold, and slightly higher lift on the intake valves.

text: Safety[edit]

text: The 1997–2001 model tested by the Insurance Institute for Highway Safety (IIHS) was the LX model with standard driver and passenger airbags. Even though the car's structure received an acceptable rating, the overall car received a marginal rating as the dummy's left leg would have been broken. Its head went through the airbag which would have caused a minor concussion. The chest was well protected.

text: Models equipped with an automatic transmission now had an overdrive cancel button that allowed the driver to lock the transmission in the first three gears to provide power for passing and climbing grades. The pattern of the cloth on the seats was also redesigned, and the head restraints earned an acceptable rating from the IIHS for whiplash protection.

text: The 1999 European, Australian, and Asian CR-V models featured more drastic changes. Exterior alterations included a new front bumper, smoothed off rear bumper, and a smaller plastic radio antenna on the rear of the roof. "Nighthawk Black" was added to the list of paint choices, while "Passion Orange" disappeared. New dark blue pearl and red pearl shades replaced the former solid red and metallic blue hues. European models received an enlarged Honda emblem on the front grille, and a new metallic yellow paint in certain markets.

text: In 2000, a Special Edition model was introduced in North America. The SE featured body-colored bumpers and side moldings, a body-colored hard spare tire cover, leather upholstery, CD/cassette audio deck, rear privacy glass, a Navtech navigation system, and chrome grille accent. Until 2001, the CR-V sold more than any other vehicle in its class. The North American models also received new exterior colors including Naples Gold Metallic and Taffeta White. Electron Blue was introduced in 2000 to replace Submarine Blue Pearl, while Satin Silver Metallic replaced Sebring Silver Metallic in 2001. However, that year, sales of the Ford Escape and its clone, the Mazda Tribute, surpassed those of the CR-V.

text: The Australian higher specification model was called the "Sport". It was added at the time of the first facelift and included body-colored bumpers, mirrors, door handles, and hard rear spare wheel cover. It also included alloy wheels, roof rails, and a large glass sunroof. The CR-V became the country's best-selling SUV in 2000, outselling the Toyota Landcruiser for the first time.

text: Second generation (2002–2006)[edit]

text:
Second generation (RD4–RD9)

Overview

Production
2001–2006

Model years
2002–2006

Assembly
Swindon, England, United Kingdom
Ayutthaya, Thailand
Sayama, Japan
Ping-Tung, Taiwan
Santa Rosa, Laguna, Philippines
India
Karawang, Indonesia
Wuhan, China (Dongfeng Honda)

Designer
Mitsuhiro Honda (1999)[5]

Body and chassis

Related
Honda Civic (seventh generation)
Honda Element
Honda Integra DC5

Powertrain

Engine
2.0 L K20A1 I4
2.0 L K20A4 I4
2.2 L N22A2 turbodiesel I4
2.4 L K24A1 I4

Transmission
5-speed manual
6-speed manual
4-speed automatic
5-speed automatic

Dimensions

Wheelbase
2,620 mm (103 in)
2,625 mm (103.3 in) (post-facelift)

Length
4,535 mm (178.5 in)
4,600 mm (180 in) (post-facelift)

Width
1,785 mm (70.3 in)

Height
1,680 mm (66 in) 2002–2004
1,700 mm (67 in) 2002–2004 2WD
1,750 mm (69 in) 2002–2004 4WD
1,759 mm (69.3 in) 2005–2006 2WD
1,780 mm (70 in) 2005–2006 4WD
1,800 mm (71 in) 2005–2006 2WD/4WD

text: The bigger and heavier[6] second generation CR-V (Chassis Code RD4-RD8) was a full redesign, based on the seventh generation Civic, and powered by the K24A1 engine. North American versions of the new engine produced 160 hp (120 kW) and 162 lb⋅ft (220 N⋅m) of torque. Per new SAE regulations, the same engine is now rated at 156 hp (116 kW) and 160 lb⋅ft (220 N⋅m). Despite the power increase, the new CR-V retained the fuel economy of the previous model, thanks in part to the engine's i-VTEC system. The newly developed chassis had increased torsional and bending rigidity, while the new suspension possessed front toe control link MacPherson struts and a rear reactive-link double wishbone; the compact rear suspension increased cargo space to 72 cu ft (2,000 l). The second generation CR-V was Car and Driver magazine's Best Small SUV for 2002 and 2003. Second generation CR-Vs in countries outside of North America were again offered in both "low specification" and "high specification" variants, with the latter featuring body-colored bumpers and fittings. It also now did not require the glass hatch to be opened before the swinging door. Changes between model years 2002, 2003, and 2004 were minor, involving an enlargement of the center compartment bin and the addition of a front passenger door power lock in the latter two years respectively. The success of the CR-V prompted Honda to introduce an entry-level SUV, the Element.

text: It is reported that in late 2003, Honda took legal action against Shuanghuan of China accusing its Laibao SRV of copying the CR-V's exterior design.[7] Another manufacturer from China made a copy called the Tianqi Meiya TM6480A.

text: Facelift[edit]

text: In 2005, the CR-V received a mid-cycle refresh. The 2005 CR-V was now equipped with 16 inch wheels, the earlier models had 15 inch wheels. Visual changes included new taillights and headlights with clear indicators. The new headlights now have two separate H1 bulbs for low beams and high beams, the previous setup used H4 single bulb for both low and high beams. The taillights now used clear lenses instead of amber for the turning indicators. The grille was also changed; it had two horizontal bars instead of one. The front bumper design was slightly changed, it now has round fog lights compared to the previous rectangle fog lights and in addition to the lower grill there are two horizontal bars instead of one. The rear bumper reflectors were longer and narrower.

text: On the inside of the car, the EX trim received upgrades which included steering wheel-mounted audio controls and an outside temperature monitor. The stereo system was also XM Satellite Radio ready (USA but not Canada). All CR-V models also had revised rear seat headrests, which had been redesigned to reduce rear view blockage.

text: Mechanically, the 2005 model was also changed. A major change included a drive-by-wire throttle for all CR-Vs. The all-wheel drive system was improved; it had been tuned to activate faster in low traction situations. US market models were equipped with a five-speed automatic, as opposed to the previous four-speed automatic.

text: In the United States and Canada, all 2005 MY and later CR-Vs have anti-lock brakes, electronic brake force distribution, traction control and Vehicle Stability Assist, front seat-mounted side airbags, and side-curtain airbags with rollover sensors for all occupants.

text: In Australia, the MY05 facelift went on sale in late 2004. Base models made do with only dual airbags and ABS as standard equipment, while the Sport came equipped with side airbags for the first time. Curtain airbags were unavailable on any model, until the next generation.

text: Following the tradition of adding a trim level above the EX during the refresh like the first generation CR-V, Honda added the SE trim level for the 2005 CR-V. The CR-V SE featured painted bumpers, body side molding, and hard, body-colored spare tire cover. For a more luxurious experience, Honda added a leather interior, leather-wrapped steering wheel, and heated side mirrors and front seats.

text: Third generation (2007–2011)[edit]

text:
Third generation (RE1–RE5, RE7)

Overview

Production
Sept 2006–2011

Model years
2007–2011

Assembly
East Liberty, Ohio, United States
El Salto, Mexico
Ping-Tung, Taiwan
Sayama, Saitama, Japan
Swindon, England
Vĩnh Phúc, Vietnam
Wuhan, China
Ayutthaya, Thailand
Karawang, Indonesia

Body and chassis

Related
Acura RDX
Honda Civic

Dimensions

Wheelbase
2,620 mm (103.1 in)

Length
4,518 mm (177.9 in)

Width
2007–09: 1,820 mm (71.7 in)
2010–2011: 1,819 mm (71.6 in)

Height
1,704 mm (67.1 in)

text: The third generation CR-V went on sale in the US in late September 2006, as the 2007 model year. The third generation CR-V was launched for the 2007 model year. Unlike preceding models it features a rear liftgate rather than a side-opening rear door and no longer has the spare tire mounted on the rear door.

text: The third generation CR-V is powered by the latest version of Honda's standard K-series 2.4 L inline-four engine, similar variants of which can also be found in the current-generation Honda Accord and Honda Element. In North American markets, this engine's power is rated at 166 hp (124 kW) at 5,800 rpm and 161 lb⋅ft (218 N⋅m) at 4,200 rpm.[8] A 2.2 L i-CTDI diesel engine is offered in the European and Asian markets. The European market CR-V offers a new R20A 2.0 L petrol engine, based on the Honda R-series i-VTEC SOHC engine found in the Honda Civic, as opposed to the previous CR-V offering the K20A.

text: Facelift[edit]

text: For the 2010 model year, the CR-V received style, powertrain, and equipment changes. The exterior changes included a redesigned front fascia with a new horizontal-slat chrome grille and honeycomb-designed lower front grille, new front bumper, and revised taillights. The rear bumper was redesigned, as well as new five split-spoke 17-inch alloy wheels for EX and EX-L models. The interior received minor changes, including seat fabrics, as well as wider driver and front-passenger armrests. The audio head unit controls were altered and the information display backlighting in the gauges was changed to blue, instead of the previous black. A USB audio input became standard in the EX-L trim while hands-free Bluetooth connectivity was exclusive to the EX-L trim equipped with navigation system. In 2011, a mid-level SE trim debuted with a 6-disc CD changer and 17-inch 7-spoke alloy wheels that came from the pre-facelift EX and EX-L trims.

text: Fourth generation (2012–2016)[edit]

text:
Fourth generation (RM1, RM3, RM4)

Overview

Production
Nov 2011–2016

Model years
2012–2016

Body and chassis

Related
Acura RDX
Honda Civic (ninth generation)

Dimensions

Wheelbase
103.1 in (2,619 mm)

Length
178.3 in (4,529 mm)

Width
71.6 in (1,819 mm)

Height
65.1 in (1,654 mm)

text: The CR-V Concept debuted at the Orange County International Auto Show in September 2011,[9] the production 2012 CR-V debuted at the 2011 Los Angeles Auto Show.[10] The CR-V went on sale in the U.S. on December 15, 2011.[11]

text: It is powered with a 2.4-liter i-VTEC inline-four engine puts out 185 hp and 163 pound-feet (220Nm ) of torque at 4,400 rpm along with an all-new Real-Time all-wheel-drive (AWD) with intelligent control system. All North American Honda CR-Vs come equipped with a 5-speed automatic transmission.[12]

text: Facelift[edit]

text: The facelifted 2015 model year CR-V went on sale during October 2014.[13] The CR-V uses the direct injected "Earth Dreams" engine and continuously variable transmission (CVT) transmission combination first introduced on the ninth generation Accord, EPA estimated fuel economy is improved +4/+3/+3 mpg (city/highway/combined). The structure has been modified to improve crash performance, particularly in the IIHS's small offset crash test. The suspension shock absorbers, springs, anti-roll bars and lower control arms are also revised to improve ride performance, while a reduced 15.6:1 steering gear ratio and larger brake booster gives it a sportier feel.

text: Fifth generation (2017–present)[edit]

text:
Fifth generation (RW1–RW6)

Overview

Production
Nov 2016–present

Model years
2017–present

Assembly
East Liberty, Ohio, United States (ELAP)
Greensburg, Indiana, United States (HMIN)
El Salto, Jalisco, Mexico (Honda Mexico)
Sayama, Saitama, Japan
Ping-Tung, Taiwan
Ayutthaya, Thailand (Honda Ayutthaya Plant)
Alliston, Ontario, Canada (HCM)
Alor Gajah, Melaka Malaysia
Swindon, England (HUKM)
Wuhan, China (Dongfeng Honda)
India (Honda India)
Karawang, Indonesia (Honda Prospect Motor)

Body and chassis

Related
Acura CDX
Honda Civic (tenth generation)

Powertrain

Engine
2.4 L K24W I4
1.5 L L15B7 I4 (turbo)
2.0 L R20A I4
1.6 L I4 (turbo-diesel)

Transmission
Continuously Variable Transmission (CVT)
9-speed ZF automatic (diesel)

Dimensions

Wheelbase
104.7 in (2,659 mm)[14]

Length
180.6 in (4,587 mm)

Width
73.0 in (1,854 mm)

Height
66.1 in (1,679 mm) (FWD)
66.5 in (1,689 mm) (AWD)

Curb weight
3307–3397 lbs (FWD)
3421–3512 lbs (AWD)

text: The fifth generation CR-V was unveiled in October 2016 in Detroit. Sales began on December 21, 2016 as a 2017 model year. It utilizes the same Honda compact global platform introduced on the 10th generation Civic.[15]

text: The base (LX) trim is powered by an Earth Dreams 2.4-liter I-4 engine with 184 hp (137 kW), premium trims are equipped with a 1.5-liter turbocharged I-4 with 190 hp (140 kW). Despite the similar power outputs, the turbocharged engine delivers peak torque at 2,000rpm-5,000rpm[16] whereas the naturally-aspirated engine delivers its peak torque at 3,900rpm.[17]

text: The body utilizes 56.5% high strength steel, a total of 37.2% are either of 780, 980 or 1,500 MPa yield strength types.[citation needed]

text: The "Honda Sensing" package, which includes features like Adaptive Cruise Control with Low-Speed Follow (ACC), Collision Mitigation Braking (CMBS) and Lane Keeping Assist (LKAS), are standard on EX and above trims; the package was formerly reserved to the Touring trim prior to the 5th gen release. New safety features include Blind Spot Information (BSI) with Rear Cross Traffic Monitor (CTM), replacing the LaneWatch system from the previous generation CR-V, and Auto High Beam (HSS) headlights.[18]

text: LED daytime-running lights, 18" Alloy Wheels, and electronic parking brake with a new auto-hold feature, are now standard on EX and up trim levels. Additional, new features include a power lift-gate, active grille shutter system to reduce aerodynamic drag, Android Auto/Apple CarPlay on an updated 7-inch touch screen display with volume knob, 7-inch TFT instrument display and LED headlights.[19]

text: Honda began producing the CR-V at Greensburg, Indiana (HMIN) during February 2017.[20]

text: The fifth generation CR-V was also launched in Thailand on March 24, 2017, and in Indonesia on April 27, 2017 at the 2017 Indonesia International Motor Show. Indonesian models went on sale on June 17, 2017. The ASEAN models (excluding Indonesia and Malaysia)[21] are available with a 1.6-liter Honda i-DTEC turbodiesel option (producing 160 horsepower and 350Nm of torque) paired to a ZF 9HP transversely-mounted 9-speed automatic transmission. The i-DTEC turbodiesel engine has been revised from having a single variable-nozzle turbocharger in the earlier version to having two turbochargers - one for low RPMs and the other for high RPMs - to minimize turbo lag. It uses an aluminum cylinder head paired to an open-deck cylinder block, with shorter and thinner piston skirts to reduce mechanical friction to levels comparable to a petrol engine. [22]

text: The CR-V Hybrid was unveiled at the 2017 Auto Shanghai in China during April 2017.

text: Engines[edit]

text:
Engine
Horsepower
Torque

2.4L I4
184 hp (137 kW) @ 6,400 rpm
180 lb⋅ft (240 N⋅m) @ 3,900 rpm

1.5L I4 Turbo
190 hp (140 kW) @ 5,600 rpm
179 lb⋅ft (243 N⋅m) @ 2,200 rpm

2.0L I4
152 hp (113 kW) @ 6,500 rpm
139 lb⋅ft (188 N⋅m) @ 4,300 rpm

1.6L I4 Turbo Diesel
160 hp (120 kW) @ 4,000 rpm
258 lb⋅ft (350 N⋅m) @ 2,000 rpm.

text: Safety[edit]

text:
NHTSA 2017 CR-V:[23][24]

Overall:

Frontal Driver:

Frontal Passenger:

Side Driver:

Side Passenger:

Side Pole Driver:

Rollover FWD:
 / 16.3%

Rollover AWD:
 / 16.2%

text: Sales[edit]

text:
US Sales of Honda CR-V

Calendar year
Sales

1997[25]

66,752

1998

100,582

1999[26]

120,754

2000

118,260

2001[27]

118,313

2002

146,266

2003[28]

143,909

2004

149,281

2005[29]

150,219

2006

170,028

2007[30]

219,160

2008

197,279

2009[31]

191,214

2010

203,714

2011[32]

218,373

2012

281,652

2013[33]

303,904

2014[34]

335,019

2015[35]

345,647

2016

357,335

2017

377,895