A

Hollywood Ending

A comparison of the
film and book versions of
Harry Potter and the Prisoner of Azkaban,
The Lightning Thief,
A Monster Calls,
and Miss Peregrine’s Home for Peculiar Children






Julie Patton
Final Project, LIS 404 LE
May 7, 2017

 It is inevitable that when a novel is turned into a movie, something gets lost in the

translation, if for no other reason than trying to fit a sprawling story into the standard 90- to

120-minute running time for a feature film. But just as often, something is gained: a theme is

enhanced by representation on the screen, or new plot elements help to make a character less

enigmatic or a story more exciting to watch. Four films that originated as young adult books

illustrate both the losses and gains that occur when they are translated for the cinema: Harry

Potter and the Prisoner of Azkaban by J.K. Rowling; The Lightning Thief (Percy Jackson and the

Olympians, Book 1) by Rick Riordan; A Monster Calls by Patrick Ness; and Miss Peregrine’s

Home for Peculiar Children by Ransom Riggs. All four were either critical or box office successes

(or both), and to varying degrees each film captures the essence of its source novel. But they

vary tremendously in how the original text is transformed into a film, with differences in

character and plot being the most changing variables. In addition, all four films address a sense

of sentiment for the family that is not necessarily present in the original novel.

Harry Potter and the Prisoner of Azkaban, originally published in 1999, is the third

installment in Rowling’s Harry Potter series, and was released as film in 2004. A.O. Scott,

reviewing the film in The New York Times, notes that director Alfonso Cuarón “attempts, and

for the most part achieves, a trickier sort of translation” than the two previous films in the

series. The story is darker, as Harry faces a threat not from the otherworldly Voldemort, but

from the very human Sirius Black, who has escaped from Azkaban prison and appears to be

coming after Harry. He also faces dementors, the ghostly Azkaban guards tasked with finding

Black and which can suck out people’s souls. But more significantly, “at 13, the children in

‘Azkaban’ are teetering on the edge of full-blown adolescence, more cynical, more worldly and

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more emotionally confused than before” (Lyall). While he is moving toward independence as a

young adult, the gloomy mood of the book and the film signal the changes and the increasing

danger Harry will be facing as he grows up.

While not radically altering the original story, there are small changes in the film version

of Prisoner of Azkaban that both help to condense time and highlight the relationships Harry

has with Sirius Black and with Remus Lupin, his Defense Against the Dark Arts Teacher. While

both characters are flawed and eventually prove unable to be the father figure that Harry

craves, the movie tends to play down these flaws.

Both Black and Lupin had been friends with Harry’s father, James, when all three had

been students at Hogwarts, and Harry’s parents had named Black as Harry’s godfather. Black

was later imprisoned for 12 years, accused of murdering 12 muggles and Peter Pettigrew,

another Hogwarts friend, and was suspected of betraying Lily and James Potter to Voldemort,

leading to their death. In fact, Pettigrew was the traitor, and both Black’s innocence and the

loss of his friends contributed to his mental demise in the harsh Azkaban prison. After escaping

from Azkaban, Black seeks out Harry, not to harm him as everyone suspects, but to protect him

from Pettigrew, who is actually still alive and living as an animagus, Ron’s pet rat Scabbers.

Harry, Ron and Hermione are surprised in the Shrieking Shack by Black and a violent

confrontation is scuttled by the arrival of Professor Lupin. After the truth about Pettigrew is

revealed and he manages to escape, Black becomes fatherly toward Harry and offers him a

home away from the awful Dursleys with whom Harry lives when he is not at Hogwarts.

Although the sequence of events is the same, the book differs from the movie by

making Black’s tortured mental and physical state much more vivid. When Harry first sees Black

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in human form (as opposed to the black dog as which he has been disguised), he sees “a mass

of filthy, matted hair hung to his elbows. If eyes hadn’t been shining out of the deep, dark

sockets, he might have been a corpse. The waxy skin was stretched so tightly over the bones of

his face, it looked like a skull. His yellow teeth were bared in a grin” (Rowling 338). As Harry,

Ron and Hermione confront Black in the Shrieking Shack and Black attempts to plead his case,

the ensuing fight leads to Black nearly choking Harry and Harry preparing to kill Black with his

wand (340-341). Later, after Lupin and Black reveal that Pettigrew is Scabbers the rat, Black is

barely able to restrain his desire to kill Pettigrew. His remorse and desire for revenge over

convincing Lily and James to make Pettigrew their Secret-Keeper—a move which led to their

deaths—is palpable. “‘Harry, this piece of vermin is the reason you have no parents,’ Black

snarled. ‘This cringing bit of filth would have seen you die too, without turning a hair’” (375).

While the “Wanted” posters of Black seen in the film depict him as a raving lunatic,

when viewers finally meet Black in human form his anguish fairly quickly gives way to a more

rational demeanor, and he works in concert with Lupin to expose Pettigrew. In fact, the entire

Shrieking Shack sequence, which in the book covers most of three chapters (or approximately

50 pages), in the film has been reduced to about 5 minutes in length. Black is almost charming

as the group leaves the tunnel to the Shack, musing about how James Potter had once

suggested Black stay as a dog permanently. And he looks longingly at Hogwarts Castle,

remembering fondly his school days as he offers a home to Harry. While in both film and book it

has become clear that Black is an innocent man, the film fairly glosses over the effect that

prison has had upon him and makes his actions seem reasonable and even thoughtful. As Amy

Green notes, “Rowling hints that although Harry immediately views Sirius as a father figure,

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Sirius may not be up to the task of acting as a role model to the impressionable youth…. His

inability to act as an ideal parent stems from Sirius’s long imprisonment and stunted emotional

development” (95, 97). Except for a haggard appearance, film viewers get little insight into how

prison has affected Black, making him seem less troubled and possibly even heroic.

The character Remus Lupin is also more fatherly and less troubled in his film depiction.

In the book, when Lupin is first introduced, Rowling describes him as shabbily dressed, looking

“ill and exhausted” (74). Several more mentions of Lupin being ill or looking unwell are

scattered throughout the story, hinting at the truth: that Lupin is a werewolf. When he returns

to class after missing a lesson (at which Snape substituted and pointedly taught the class about

werewolves), “it certainly looked as though he had been ill. His old robes were hanging more

loosely on him and there were dark shadows beneath his eyes” (185). Lupin’s introduction in

the film makes no issue of his shabby appearance, instead focusing on the fact that he is asleep

on the train. And the next time that Lupin is seen following the class at which Snape substituted

for him, he is walking in the forest with Harry (for what reason it is never explained) looking

perfectly healthy. It is during this walk that Harry asks Lupin to teach him how to fight the

dementors. The analogous scene in the book takes place in Lupin’s office following class where

they meet at Lupin’s request. The subsequent lessons during which Harry learns to summon his

Patronus are presented as a standard teacher-student interaction in the book, rather

emotionless, save for Harry’s reactions to the boggart/dementor as he practices the spell. In the

film, however, Lupin begins by asking Harry if he’s sure he wants to go ahead with the lessons,

knowing they will be very emotionally draining for him. Lupin’s demeanor is warm and

encouraging, and he tells Harry that he would have given his father “a run for his money,”

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implying that James was a very powerful wizard just like Harry will someday be. As they sit on

the classroom steps and eat chocolate, Harry and Lupin talk about Harry’s parents and the

happy memory of them he used to work the spell. The film scene is much more emotional and

certainly casts Lupin as a substitute father or mentor.

Several other differences between the film and the book are notable. The sub-plot

involving Buckbeak the hippogriff and his trial and order of execution are not well fleshed out in

the film. This plot in the book illustrates Hagrid’s devotion to magical creatures, his distress

over losing his teaching appointment, and his anguish over Buckbeak’s slaying. Snape’s tirade

against James Potter and his friends for their cruelty during their Hogwarts school days is

absent from the film, making Snape’s behavior toward Harry less understandable and making

Snape seem more villainous. And Harry receives the anonymous gift of a Firebolt broom not at

Christmas time as in the book, but at the end of the film after Sirius Black has escaped with

Buckbeak. In the book, the broom is immediately confiscated by Professor McGonagall to be

checked for possible jinxes. Hermione suspects that Black has sent the broom (and eventually it

is revealed that he did) but at this point in the story Black is still considered to be a very

dangerous fugitive. By moving the gift to the end of the film, it seems more like a godfatherly

gesture, further casting Black in the role of Harry’s protector and supporter.

In contrast, the book and film versions of The Lightning Thief are vastly different. The

first book in the series Percy Jackson and the Olympians, The Lightning Thief was first published

in 2005 and was made into a film in 2010. The book tells the story of 12-year-old Percy Jackson

who discovers that he is a demigod—the son of a Greek god and a mortal woman. At the

behest of the Oracle of Delphi, he embarks on a quest to retrieve and return Zeus’s master bolt

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to Olympus, which currently can be found on the 600th floor of the Empire State Building. On his

cross-country trip, accompanied by his friends Annabeth (another demigod), and Grover (a

satyr), Percy encounters gods and monsters set on killing him and stopping his quest. He

eventually completes his mission but is betrayed by Luke, another demigod and supposed

friend, who has set events in motion by stealing the master bolt in the first place. The Lightning

Thief typifies many aspects of young adult literature, as the main character works to achieve

independence, develops intelligence for both the mortal world and the world of the gods, and

both separates from and seeks out a family.

The most striking difference between the book and the movie is that in the film,

directed by Chris Columbus, Percy and Annabeth are not 12 years old, but 161. This change may

have been made for any number of reasons, but has the effect of gearing the film toward a

slightly older audience than if Percy had remained 12—a teenage audience to which many

Hollywood films are marketed. It also allows for a possible romantic relationship between Percy

and Annabeth, and makes it possible for the trio to drive a truck, and later an expensive sports

car, on their cross-country trek. In the book, Percy, Annabeth and Grover rely on buses, trains

and hitchhiking when their money runs out. They have to use their wits to continue their

journey, while their film equivalents essentially steal the vehicles they use. This certainly lends a

sense of excitement to the film, but such behavior would have been quite out of character for

the trio in the book. When told he was suspected of stealing Zeus’s master bolt, Percy asks,

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In the book, it is explained that Grover is 28 years old, but that satyrs age at half the rate of mortals, making him
roughly equivalent to a 14-year-old (Riordan 77). In the film, he appears to be the same age as Percy and
Annabeth.

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“How could anyone accuse me of stealing a god’s weapon? I couldn’t even steal a slice of pizza

from Gabe’s poker party without getting busted” (136).

The setting differs between the book and film as well. In the book, Camp Half Blood,

where Percy goes to escape encroaching monsters, is depicted as a typical summer camp. The

campers, all demigods like Percy, wear camp t-shirts and stay in a cluster of cabins arranged in a

U. Camp Half Blood in the film is populated with fit and athletic teenagers wearing armor and

training in various methods of combat. During their quest, Percy, Annabeth and Grover make

stops in a number of U.S. cities, including St. Louis, Denver and Las Vegas, before making it to

Hollywood and the entrance to the underworld (under the Hollywood sign in the film and in a

recording studio in the book). However, in the film, they do not visit either St. Louis or Denver,

instead making a stop in Nashville at the real-life full scale replica of The Parthenon. And the

casino at which they stop in Las Vegas is clearly geared towards kids in the book, with the focus

on video games, waterslides and bungee jumping. In the film, the analogous scene takes place

in a typical Las Vegas casino, complete with table games, slot machines and a nightclub. Again,

these changes seem to signal that the film is seeking to draw in older viewers.

Another significant difference between book and movie involves the plot. In the book,

Percy is given his quest to find the master bolt by the Oracle of Delphi: “You shall go west, and

face the god who has turned. You shall find what was stolen, and see it safely returned” (141).

Chiron, Percy’s teacher, points him in the direction of Hades and the entrance to the

underworld in Los Angeles. He gives Percy $100 in mortal money and 20 golden drachmas for

“non-mortal transactions,” assigns Grover and Annabeth to accompany him, and arranges for

them to be taken to the bus terminal in Manhattan. “After that, you are on your own” (148).

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The trio makes their way across the country by whatever means are available to them, fighting

the monsters that appear during their travels.

However, in the film, Percy decides to leave camp against Chiron’s wishes. He is going to

rescue his mother from the underworld, where she has been held after vanishing during a

confrontation with the Minotaur as she tried to get Percy to Camp Half Blood and safety. Hades

has offered to free Percy’s mother if Percy brings him the master bolt, which he believes that

Percy has stolen from Zeus. Annabeth and Grover catch Percy trying to leave camp and decide

to join him. But before they leave, they visit Luke for advice on how to find the underworld. He

gives them a map he stole from his father, Hermes, that shows the locations of three magical

pearls that Persephone has hidden across the country for her lovers to collect so that they may

visit her in the underworld and then get out safely. The map only reveals one location at a time,

so as soon as they retrieve one pearl, the trio learns their next destination. Along the way, they

must fight the monsters that guard the pearls. Only after they escape the casino in Las Vegas do

they learn that the entrance to the underworld is in Hollywood.

This change in plot also changes Percy’s motivation for undertaking his journey. In the

book, Percy must do it because it is in the prophesy from the Oracle. It is predestined. He

doesn’t even learn that his mother is alive and being held by Hades until he’s almost reached

the underworld. But in the film, his main motivation all along is to free his mother. This adds a

noble aspect to his actions which is absent from the book. Having a map to the pearls to follow

almost makes their journey like a treasure hunt, adding to the mystery and adventure. It brings

to mind other treasure-hunting movies like National Treasure (2004) and The Da Vinci Code

(2006), both very popular action-adventure films. In addition, in the film version Persephone is

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present in the underworld when Percy arrives and she aids the trio in their escape to Olympus.

However, Persephone makes no appearance in the book, and would likely not have been in the

underworld anyway as the action of the story takes place in summer and according to myth she

would be away visiting her mother, Demeter (“Percy Jackson and the Olympians”). The

character Persephone in the film is dressed suggestively and makes advances toward Grover. It

seems likely these changes to the story were made as further nods to the intended teenage

audience.

Two more differences between the book and movie versions of The Lightning Thief are

worth noting. First, the movie makes no mention of Mist, the means by which humans are kept

from seeing divine or monstrous elements. “You will see things as they are, being a half-blood,”

Chiron tells Percy, “but humans will interpret things quite differently. Remarkable, really, the

lengths to which humans will go to fit things into their version of reality” (155). Many of Percy’s

battles with monsters in the film take place in front of humans and no attempt is made to

explain or obscure what is happening. The pace of the movie most likely prevents inclusion of

this detail. And Percy’s relationship to his father, Poseidon, is very different in the two versions.

In the book, Percy does not know who his father is until Poseidon “claims” him by displaying a

trident when Percy wins a camp game of Capture the Flag. Even then, Poseidon keeps his

distance from Percy. When Percy finally meets Poseidon face to face in Olympus he says, “I

wasn’t sure what I saw in his face. There was no clear sign of love or approval. Nothing to

encourage me” (341). Yet, Poseidon is portrayed as a very caring father in the film. He watches

over Percy while he is on his quest and guides him. “Just because you didn’t see me doesn’t

mean I wasn’t there. When you were in trouble I tried to help” he tells Percy when they finally

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meet. The father and son have something of a reconciliation and part on friendly terms, a

sentiment not found at all in the book.

While the differences between the book and movie of Harry Potter and the Prisoner of

Azkaban largely lighten the mood and enhance fatherly aspect of Harry’s relationships with

Sirius Black and Remus Lupin, the differences between the two versions of The Lightning Thief

are primarily aimed at crafting a fast-paced action-adventure film, while also strengthening

Percy’s relationships to his parents. The film version of A Monster Calls, however, takes a

completely different approach to its source text: it is an almost literal, word-for-word

recreation of the novel. And yet the few changes present in the film also serve to strengthen a

family relationship; in this case, that of the main character, Conor, to his mother.

A Monster Calls was published in 2011, and was written by Patrick Ness, working from

an original idea by Siobhan Dowd, who died before she was able to write the book herself. Ness

and Dowd shared an editor, Denise Johnstone-Burt, who contracted with Ness to write the

book after Dowd’s death (Ness and Kay). A Monster Calls includes haunting pen-and-ink

illustrations by Jim Kay for which he won the 2012 Kate Greenaway Medal; Ness was the winner

of the 2012 Carnegie Medal for his work on the novel.

A Monster Calls tells the story of Conor O’Malley, a 13-year-old boy living with his

mother who is dying from cancer. He is also dealing with bullies at school, an uninvolved father

who has remarried and is living in America with his new family, and a strict, cold grandmother

with whom Conor is expected to live while his mother is undergoing treatment. Conor is visited

by a tree-like monster who tells him three stories—ambiguous folktales with multiple

meanings—and insists that Conor tell him a fourth tale, his recurring nightmare. As Conor’s

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mother becomes more ill and it becomes clear that her treatments are not working, the

monster compels Conor to increasing acts of violence: destroying his grandmother’s sitting

room and her treasured antique clock; beating up his main tormentor. When it is time for

Conor to tell his tale, he has to face his truth—that he wants his pain to end, even if that means

losing his mother. And yet he doesn’t want his mother to go, something he is finally able to tell

her before she dies.

Ness is also the author of the screenplay for the film of A Monster Calls, which was

directed by J. A. Bayona and released in 2016. Ness reports that he wrote the screenplay “on

spec” when he heard that his book was being considered for a movie because he wanted to

“ensure it was done right” (Hughes). The result is a movie that very faithfully retells the novel,

with very slight omissions (a few minor characters present in the book are not found in the film)

and one major addition, an epilogue, which beautifully ties Conor to his mother and the

monster that apparently has visited them both. The film introduces the detail that Conor is an

artist, and he is often shown sketching at home and during class when he should be paying

attention. The audience later finds out that his mother was also an artist and had ambitions to

attend art school, a dream that was set aside when she married and had Conor at a young age.

While the book ends when Conor has finally spoken his truth to his mother, the film adds a final

scene in which Conor has come to live with his grandmother permanently. She shows him the

room she has made up for him, which includes a mix of his own things from his home with his

mother, and items belonging to his mother when she was a child. Conor is instantly drawn to

his mother’s sketchbook which includes beautiful watercolor images from the tales the monster

has told him, and pictures of the monster himself with Conor’s mother as a child. The audience

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can see that “Conor’s imagination has been shaped and cultivated by his mother… [and]

indicate that she was the monster-loving child who saw a yew tree on the hill as the giant who

later visits her son” (Newman). Rather than detracting from the work by being an obvious

addition to the original text, this epilogue helps to end the film on a slightly more happy note

and enhances the viewer’s sense of the strong mother-son relationship.

Conor’s other relationships survive the translation from book to film barely altered.

Both show Conor’s delight in seeing his father after a long absence, and his disappointment

when his father invites Conor for a visit rather than to live with him permanently. His father

even plays along when Conor states that they can talk about it more when his mother gets

better, when both know in their hearts that she will not get better. It is a strained relationship

and both book and film make this achingly clear. While both media show Conor’s grandmother

to be somewhat cold and reserved, she comes off as less sympathetic in the film. In the book,

she is frequently described as being at the hospital with her daughter, and it is clear that she is

hurting deeply over the impending loss. Her hurt is less visible in the film, perhaps due to

choices in the screenplay, but more likely due to a very stiff performance by Sigourney Weaver.

Viewers are unable to see any emotion beneath her steely demeanor, and the American

actress’s attempts at a British accent are off-putting. But Conor’s relationship to the monster is

the most striking. In both, Conor is at first defiant, claiming that he is not afraid of the monster.

As the situation with his mother gets worse, Conor becomes more destructive, seemingly at the

behest of the monster who describes destroying the parson’s house at the end of the second

tale. “I flung his roof into the dell below and knocked down every wall of his house with my

fists” (Ness loc. 994). The monster invites Conor to “join in” on the destruction, which he does,

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only to find that he has really destroyed his grandmother’s sitting room. It is clear in both the

film and the book that the monster is both external and internal to Conor, a force created for

dealing with his complex emotions and overwhelming grief. Ness and director Bayona have ably

translated this complicated idea for the screen.

Also dealing with loss and the thorny relationships within a family, Miss Peregrine’s

Home for Peculiar Children delves into fantasy and horror to tell the story of 16-year-old Jake

Portman. Written by Ransom Riggs and published first in 2011, the book follows Jake after he

loses his grandfather in a mysterious attack. Following instructions given to him by his

grandfather just before he died, Jake and his father journey to Wales to find the children’s

home where Jake’s grandfather lived during the early years of World War II. His grandfather

had claimed there were children with special powers living there—super strength, levitation,

invisibility—but Jake had stopped believing those stories when he was younger. Now believing

that his grandfather’s death was due to something otherworldly, Jake hopes to find answers at

the home. He discovers a time loop which keeps the home, its residents and Miss Peregrine,

the headmistress, perpetually in September 3, 1943, just before the home was destroyed by a

German bomb. He finds, too, that he has peculiar powers: he alone can see the monsters set on

consuming the peculiars. Jake and the children join forces to try to rescue Ms. Peregrine and

her fellow ymbrynes, shape-shifting bird women who protect peculiar children and manage the

time loops, from the wights, monsters who have consumed enough peculiars to regain some

human form. In the end, Jake stays with the children in 1943 to continue the search for other

loops and the missing ymbrynes. The book is illustrated by vintage trick photographs that

represent the peculiar children and add to the mysterious atmosphere of the story.

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 While Jake’s relationship with his grandfather and his search for answers to the

grandfather’s past drive story, the book also highlights a strained relationship between Jake and

his father. Jake’s father is a man who has been adrift for a long time. He has no real career,

moving from hobby to hobby and living—although somewhat reluctantly it seems—off his

wife’s family’s money. He resented his own father Abe, Jake’s grandfather, for being absent so

much of his childhood. The reader eventually finds out that Abe was out hunting the

hollowgasts and wights that threaten the peculiars, of which he was one, but Jake’s father

never knew this. He just knew that his father was gone a lot. His experience of his own father

probably leads him to be restrained with Jake. When Jake’s breakdown following Abe’s death

seems to be related to the tales Abe told of special children and monsters, Jake’s father likely

feels frustrated with his own father all over again. His increased drinking while on Cairnholm

Island where his father once lived also reflects his painful memories.

The film version, directed by Tim Burton and released in 2016, sticks pretty close to the

story laid out in the novel, but the relationship between Jake and his father is a lot less defined.

It is never made clear that Jake’s father is a man without a profession or a purpose; he just

seems kind of flaky. Nor is Abe’s back story presented in the same detail as in the book. Abe is

not only a peculiar child, but a refugee from Poland during the holocaust. Jake’s anguish over

losing his grandfather is less vivid in the film, making his motivation for the trip to Wales less

compelling. Rather than being deliberate choices to dull these relationships, it seems likely that

these alterations were made in order to speed the pace of the film and set the plot in action

sooner. It is also notable that two of the peculiars, Emma and Olive, have switched powers in

the film. In the book, Emma can conjure fire, and Olive can levitate. This is reversed in the film,

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with Emma levitating and also having the power of great breath, which allows her to breathe

underwater, raise a shipwreck (that the children use to escape Cairnholm Island) and repel an

attack by Barron. Her powers allow Emma to become closer to Jake, setting up a romantic

relationship that is only hinted at in the book.

The most stark difference between the book and film versions of Miss Peregrine’s Home

for Peculiar Children is how the film ends. The book ends with Jake and the children setting sail

to locate other loops and rescue other ymbrynes. This same scene in the film takes place about

30 minutes before the end, following an exciting sequence in which the children escape from

the wight Barron and his hollowgast. The children then determine that Barron is holding Miss

Peregrine and the other ymbrynes in Blackpool in another loop. What follows is a visually

thrilling battle between the children and Barron and his monsters, with the children ultimately

claiming victory. A byproduct of destroying Barron is that Jake’s grandfather will not have been

killed in the future. Jake is able to return to his own present and apologize to Abe and tell him

he loves him. Then Jake makes his way back to the children on their mission and to Emma with

whom has become smitten. The entire third act of the film is not to be found in the book,

although elements of it appear to be taken from the third book in Riggs’s Miss Peregrine series,

Library of Souls. This addition serves to make the film of Miss Peregrine’s Home for Peculiar

Children more typical of Tim Burton’s oeuvre, allowing for a final, fantastical confrontation

employing cutting-edge special effects. But it also allows for the reconciliation between Jake

and his grandfather. Jake feels a particular sadness in the book when he realizes that Abe had

been telling him the truth all along and that Jake had no way to acknowledge that to him. The

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film gives him that chance, and again arranges for a happier ending than the source text, as in

all the films discussed in this paper.

To be successful in the American film industry, most films find a way to include a

“Hollywood ending,” a cheerful or hopeful note at the conclusion of even the darkest films.

Audiences prefer resolution where readers of novels are often more forgiving of ambiguity.

These four films each employ the “Hollywood ending” to some extent. They show characters

feeling hopeful for continued family ties and coming to terms with family no longer present.

While the original novels may not have tied things up so neatly, each film-novel pair is

enjoyable and thought-provoking entertainment for young adults.

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Works Consulted

Bayona, J.A. et al. A Monster Calls. Focus Features, 2016. Film.
“Book To Movie Comparison: Miss Peregrine’s Home For Peculiar Children.” Odyssey. N.p., 31
Oct. 2016. https://www.theodysseyonline.com/book-movie-comparison-peregrines-
home-peculiar-children
Bryn, Lara. “Movie vs. Book: Miss Peregrine’s Home for Peculiar Children.” Lara’s Book Club.
N.p., 10 Oct. 2016. https://larasbookclub.wordpress.com/2016/10/10/movie-vs-book-
miss-peregrines-home-for-peculiar-children/
Burton, Tim et al. Miss Peregrine’s Home for Peculiar Children. 20th Century Fox, 2016. Film.
Columbus, Chris et al. Percy Jackson & the Olympians: The Lightning Thief. 20th Century Fox,
2010. Film.
Cuaron, Alfonso et al. Harry Potter and the prisoner of Azkaban. Warner Home Video, 2004.
Film.
DiStasio, Christine. “‘Harry Potter & The Prisoner of Azkaban’ Book-to-Movie Differences Are
Huge & It’s Time We Admit It.” N.p., n.d. https://www.bustle.com/articles/31259-harry-
potter-the-prisoner-of-azkaban-book-to-movie-differences-are-huge-its-time-we-admit
Green, Amy M. “Interior/Exterior in the ‘Harry Potter’ Series: Duality Expressed in Sirius Black
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