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Long ago up North on the Island of Berk, the young Viking, Hiccup, wants to join his town's fight against the dragons that continually raid their town. However, his macho father and village leader, Stoik the Vast, will not allow his small, clumsy, but inventive son to do so. Regardless, Hiccup ventures out into battle and downs a mysterious Night Fury dragon with his invention, but can't bring himself to kill it. Instead, Hiccup and the dragon, whom he dubs Toothless, begin a friendship that would open up both their worlds as the observant boy learns that his people have misjudged the species. But even as the two each take flight in their own way, they find that they must fight the destructive ignorance plaguing their world.
The son of a Viking chief, Hiccup, desperately wants to follow his father's legacy and fight the dragons that raid their village. But when he finally hits a dragon and finds it crash landed in the forest, and is unable to bring himself to kill it, Hiccup soon realizes that the dragons aren't at all what the Vikings have always believed them to be.
The first major film where the agent takes a stake. This is sending shivers through CAA whose power resides in control of the performing talent. The old school agents and the performing talent have distorted the product. This business of animation studios and literary agents is likely to distort things in an equally damaging way. But for now, the shift is visible, welcome and exciting as getout.
This is actually written. It grows from within as good writing should rather that seeming like a desired shape made of chicken wire and filled with ordinary bits. Yes, we still have the moralizing because otherwise parents wouldn't think they were parenting. The rendering is cutting edge.
But what sets this apart is the use of space. Most folks don't notice this, but we have come a long, long way in five years. I have been following the advances in this. I'll say that if you have not been watching movies in that period, this could make you a bit dizzy because you will not have been walked through the incremental steps in our new spatial imagination.
The core quality of cinema is that the filmmaker gets to design your eyes. From the beginning, intelligent filmmakers have experimented with what character the camera might have. This is behind all the filmmakers I believe are great; each added and exploited some new character of eye.
With animation, and 3D modeling, it became feasible for the camera to behave in ways that a physical camera could not. Some filmmakers deliberately made their artificial cameras behave like old fashioned ones; perhaps they did not have the skills to move into unusual territory, but I think in most cases the decision was to make the fake world seem real by having the eye treat it as if it were real.
Two centers of innovation were WETA (Peter Jackson's shop) and Pixar. Both experimented heaving with vertical motion and depth. Much of this was in flight, sometimes through water. We have precedents, starting with Hell's Angels and slowly working through Star Wars (the original). Then an explosion, and experiments in often overlooked films: King Kong, Treasure Planet, Van Helsing. Now we have the two schools in full bloom.
Independently, Dreamworks just couldn't get its groove in animation. Heaven knows they tried to catch up, but they always seemed to be working in space left over from someone else. Here the agent-producer seems to have hired some real spatial talent and let them have control. Even the opening sequence where we see the village and then an attack is spatially thrilling.
Luckily, we have two 3D dragonflight movies playing side by side so we can see the two camps compared. Avatar uses WETA and the WETA philosophy. This has the camera as a companion in flight with its own distinct flight path. The excitement is in jumps not in the motion being shown, but the place of the camera.
This film adopts the Pixar philosophy which uses POV and POV-inspired notions heaving. In this notion, we are ghosts that can place ourselves anywhere we wish so as to see thing better. We do move, and our eyes do, but motivated by discovery rather than participation.
Compare in particular the idea of falling in love as shared, dangerous flight.
Thrilling. Simply trilling. We are seeing the birth of a new medium and will dream differently tomorrow.
Ted's Evaluation -- 3 of 3: Worth watching.
I have to admit, I didn't know anything about this movie until it started showing here in Manila around a week ago. The 3D version had just opened (if I'm not mistaken) a couple of days later and I invited my niece and nephew to watch with me (and my wife). Seeing how this was a Dreamworks movie (Shrek, Kung Fu Panda, Madagascar), it was likely that I'd watch it anyway... the question is, will it be another Kung Fu Panda (which I rated a 10), or a Monsters Vs. Aliens (entertaining, but not a classic for years to come; or good enough to watch over and over again on DVD; let's face it, for every excellent Dreamworks animation like Shrek or Madagascar, there's a Shrek 2 or a Bee Movie).
So I read up on reviews on a local website and on IMDb, and I was blown away by their reviews, both from critics and regular movie goers. People were generally pleasantly surprised, and enjoyed the 3D as well. So... I got all excited and had higher expectations all of a sudden.
Now on to the movie. There were so many great things from this movie ---
Entertainment - from a storytelling standpoint, this was up there with the best of Dreamworks animation; there was decent character development whether you empathize with the classic protagonist that's different from the rest of the Vikings or just appreciate the father and son relationship as it goes through the awkward years. The build-up from beginning to the climax was well done. There was much enjoyment all around with acceptable (and only occasional) lulls, and the lessons that can be learned were good and appreciable both from a child's standpoint and an adult's. Overall, How To Train Your Dragon (or some call it HTTYD) is a good blend of comedy, action and sprinkles of drama. After all, don't you want your animation to be a pretty good mix of everything?
Animation - Breathtaking; the aerial movements, the battles, the effects were all very good; not over the top, but released in appropriate doses needed to make every scene effective, memorable and entertaining. Watching in 3D adds more texture to the surroundings, puts the right amount of action at the right times, and was so generally well done that I hope this would be the benchmark of the perfect blend of cinematography and action using this technology (okay, this is not up there with Avatar's 3D but Avatar is technically live action, not animation). 3D doesn't have to be in-your-face like the old 3D's of Jaws or the more recent not-so-impressive 3D of Ice Age, or sometimes useless 3D used during the otherwise-touching and memorable movie "Up"
Voice actors - Okay, that the children/teenage protagonists didn't have the requisite Viking (Scottish- or Irish-like) accents was strange, but if you wave off the inconsistency and suspend your disbelief there, I can understand why some reviews said that the choice of voice actors was just right, and not over-the-top overwhelming that they begin to define the humor, and effectively take over the movie (like Robin Williams in Aladdin or Eddie Murphy in Mulan/Shrek). I was half expecting Gerrard Butler to shout his famous line from 300, but he was all right, too. So I enjoyed that, hahaha.
Dragons - maybe I was half expecting the dragons to speak but then again, that would have placed it into a box... a box of the usual Hollywood animation (or even non animation in cases like Dragonheart) crap. So this was good. You could still see it in the actions and expressions of Hiccup's dragon friend, "Toothless." Plus they did a bang up job in portraying many different kinds of dragons. I thought that was quite intelligently conceptualized and implemented perfectly, from the wart-hog looking ones, to the two headed variety, there were plenty of dragons for everyone's enjoyment.
Overall, this is a must-see movie for children and those who, like me, are children at heart. I enjoyed it enough to write a review again, hoping that those who are undecided will be convinced to watch it. Please do watch it, and look for that touching scene near the end between our young Hiccup and Toothless (made my eyes welt up just a little). No regrets in watching this. Even with heightened expectations, HTTYD still blew mine out of the sky. Or should I say dragon-blasted it? :-) Now to try watching it in Imax 3D before Clash of the Titans starts next week.
Adequate but unremarkable animated tale.
The movie is loosely based on the 2003 book of the same title written by British author Cressida Cowell and published by Hodder Children's Books. Cowell cites the Inner Hebrides of Scotland as an inspiration for the book. the film was followed by How to Train Your Dragon 2 (2014) (2014). Toothless is male, evident in a scene where Hiccup says to Astrid, "You just scared him," and she replies, "I scared him! And who is him?" a5c7b9f00b
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