Yeah, you got a pretty hard 180 as your central pivot, that's not often a good thing. You could mix up the framing for certain actions (like the firing of the wands), and you've got a few dead-on angles that are unnecessarily boring.
Sorry, this is one of those things I get paid to make. I'll schtum if you'd rather I not criticize.
Two questions, though: Did they have you work from the book, or the movie script? And did they specifically tell you to do it at 4:3/ NTSC, or did you have a choice? Because for movies (and HDTV I think, so really most anything now) I think the ratio is 16:9 (or 1920x1080).
2:3 then, not 3:4. Well, don't go back and be all like, "this dude on the internet said we should do it like this other way," that won't go well at all.
Though I will tell you that when laying 'em out on a board like this, you should place the frames in sequence close together and separate either the rows or columns with a wider gap. I can't tell for sure if I'm supposed to read these left-right, or up-down. Up-down is standard I think, so they'd be in columns close together, with wider spaces between the columns.
But, that being said, your drawing skills are solid. Good use of tones to separate planes, characters are largely expressive and recognizable, though you might consider adding in a flat color for each character to separate them further (works better in animation boards than film, sometimes doesn't work at all, YMMV and so forth). Drawing skills are not the problem here.
I don't think you're hitting pitfalls, so to speak, so much as not taking it up a notch as needed to compete. Angles are boring, transitions (if I'm reading this right) are sometimes jarring or just not linked at all. It's not bad work, it's just not killer work, and killer work is what's needed out there.
Though you have hit one common mistake; way too many cuts. Almost every panel here looks like a new shot, but the thing you gotta remember is that every new shot in a production costs money. It takes time to set up, it takes time to put into a shot list, it takes time to get everyone into the mode, and every new angle means extra cameras or multiple takes. And Time = Money, not to mention Stress and Wear/Tear and so forth.
So, it's usually a good idea to try and keep the number of cuts and shots to just what you need, and concentrate on making them awesome. If you want to change up angles on characters, consider moving the camera rather than a hard cut (another thing I notice on your boards in ZERO camera movement, which is booooring. This ain't a newscast). So, there's a couple nice rules of thumb you can take back to class.
What you have to work on now is taking it another level deeper. Think about Composition and matching shots in attractive ways, and doing these things consciously and with purpose. This is where stuff like Rule of Thirds comes into play, the definition of Dynamic Layout and the idea that An Angle Is Always More Interesting Than A Flat Plane, but you have to mix them up to make rhythm. I'm not sure I'm in a position to give a full lesson on this subject, but that might give you a basis to Google from and do some reading, or ask your instructors, or even just something to watch out for later in the semester. Or you can ask other artists specifically, like here.
Check out the galleries of and to see some top-shelf animation boarding, and if you dig around with their +faves and the people they follow, then you'll probably find more. The main difference between boarding for animation and boarding for film is that in boarding for film you have to remember a lot of rules about what can and can't be done within the budget and by human beings in a physical world. In animation, it's just about looking awesome.