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How to Train your Dragon: Visually Captivating for the Child at Heart
Throw on your 3D glasses and allow your imagination to soar with the latest animation film by Dean DeBlois and Chris Sanders, the directing team that also worked side by side on Disney’s Mulan and Lilo & Stitch.
In their latest venture into the 3D animation world, How to Train your Dragon revolves around Hiccup Horrendous Haddock III (Buruchel), a young and immensely sweet young boy who has the ultimate dream of joining the Viking ranks alongside his father, Stoic the Vast (Butler). In the eyes of the humongous and steaming-attitude Stoic, young and clumsy Hiccup is not good enough to gain the Viking horns, and is better left to wield swords and stay out of Stoic’s way.
Taking place in a Viking village called Berk, the film guides you through Hiccup’s fight against disenchantment, evil and the ironies of life experienced by the 10-year-old boy that can apply to anyone, no matter the age.
The small yet brave Hiccup sets out on a personal journey that takes his quest to become a dragon-fighting Viking down a completely different path. The illuminating discovery that Hiccup stumbles upon not only changes his perspective on the Viking vs. Dragon world but burdens him with the responsibility of enlightening his community, which is bound to never listen.
In the meanwhile, Hiccup’s love for Astrid (Ferrera), a female Viking-in-training, keeps a lighthearted twist on an otherwise tumultuous and heavy journey for little Hiccup.
From Hiccup’s fight against the village’s ignorance to his surprising friendship formed with the Night Fury dragon, who he names Toothless, Hiccup’s journey is bound to enthral you with the young boy’s determination and courage to bring peace between both sides of Hiccup’s new found world.
The cinematography is empowering at times, including the incredible flying scene where Hiccup is mounted on the back of Toothless, flying through beautiful landscapes of a lush valley and bouncy clouds. Intricate details and textures are used throughout the entire film, leaving you reaching out for a feel, from the single strands of hair woven into Astrid’s braids to the wrinkle lines revealing the intensity of Stoic’s life.
While the ending might possibly tug at your emotions, How to Train your Dragon is capable of pulling you into the absolute beauty of a child’s imagination, which is often times squelched. You’re left wanting to be engaged with your childlike self and noticing the creatures around that we often forget about; from the tiniest of bug to the most gargantuan of dragon. Allow yourself to be there and take part in Hiccup’s story that is bound to teach you one thing or another.
Pretty Woman director, Garry Marshall, returns to the big screen with the star-studded but helplessly formulaic ensemble comedy that is Mother’s Day; a mindless and unintelligent onscreen debacle which ends up delivering its uninvolving and forced storylines with a heavy-handed serving of cheep and cheesy sentimentality.
Meet Sandy (Aniston); a happily divorced housewife and mother of two whose ex-husband Henry (Olyphant) suddenly announces his marriage to young bombshell Tina (Pretty Little Liars’ Shay Mitchell). Her friend, Jesse (Hudson), is married to Russell (Mandvi); a man of Indian origin whom she has a son with but, hasn’t yet told her parents - Flo (Martindale) and Earl (Pine) - whose Texan roots and conservative nature doesn't sit well with their union. Her sister Gabi (Chalke), meanwhile, is in the same boat, with her marriage to Max (Esposito) – who happens to be a woman – also something that might not go down very well .
Meanwhile, Bradley (Sudeikis) - a widower whose marine wife (Jennifer Garner in an excruciatingly syrupy karaoke singing cameo) was recently killed in combat - is trying his best raising their two daughters, who are at the gates of puberty.Then there’s Kristin (Robertson); a young mom who is not sure whether she can commit to the father of her child, Zack (Whitehall), and finally, there’s Julia Roberts – and her wig - in the role of Miranda; a multi-million dollar shopping network mogul who's seemingly been shoe-horned into the plot.
Although Garry Marshall’s recent, similar efforts with Valentine’s Day and New Year’s Eve have been almost unanimously panned by critics, one must say that even though they’re far from what you might call award-winning cinematic achievements, there’s always a comforting sense of predictability and familiarity.
Mother’s Day, however, overworks its interconnecting plot whilst trying to juggle far too many characters at the same time, without so much as pausing for affect. The jokes are painfully weak and sometimes even quite offensive, while all of the conflicts – if you can even call them that – are resolved far too easily to matter.
The only performance worth mentioning is that of Aniston, who manages to sustain a level of charm and likability for most of the story, whilst Roberts’ Ana Wintour-type wig remains as one of the film’s biggest highlights in a what-the-hell-was-she-thinking kind of way.
Sappy, disengaging, unrewarding and ultimately lifeless, Mother’s Day takes the occasion-based ensemble rom-com idea into territories that it may never recover from. Who knows what day they’ll tie into a film next – Halloween? Easter? How about Martin Luther King Day? Enough’s enough.
Many were concerned that Disney’s revisit to the story of Jungle Book would find it hard to be as fun or as magical as the original. Luckily, however, with an excellent voice cast and an impressive array of visuals, The Jungle Book is something of a technical marvel which manages to retain the heart and the essence of the story’s long-established roots.
Mowgli (Sethi) is a young boy - a.k.a ‘man-cub’ - who was found abandoned in the Indian jungle by a panther named Bagheera (voiced brilliantly by Kingsley) when he was only a toddler. Brought up by a wolf pack - led by leader Akela (Esposito) - Mowgli has been accepted as one of the jungle’s own.
However, there’s one member of the jungle who’s not so keen on having a human living in their midst; vicious Bengal tiger, Shere Khan (the absolutely magnificent Edris Elba), worries that the boy will soon grow into a ruthless man who will bring nothing but destruction and devastation to them all. Coming to the conclusion that it’s in everyone’s best interest if he leaves, Mowgli embarks on a journey through the jungle where he meets and quickly befriends a friendly bear named Baloo (the always excellent Bill Murray) who convinces the young boy to stay, as he finds himself returning home to face Khan.
Infusing the story with plenty of heart and an incredible sense of visual grandeur, director Jon Favreau and writer Justin Marks pull together elements from both the Disney’s 1967 animated adaptation and Rudyard Kipling’s original collection of stories to great effect. In addition, there are refreshingly darker, less happy-go-lucky moments throughout the film, with Elba’s chief antagonist, Khan, being astonishingly affective as the villain of the piece, while Johansson’s Kaa is just as hair-raising.
The brilliant voice performances, which give their gorgeously rendered and astonishingly real-looking CGI-generated characters plenty of personality, charm and wit, is definitely one of the strongest aspects of the story, with Elba and Murray coming out on top as the most scene-stealing of the bunch. Sethi is equally wonderful as the young Mowgli, filling his character with plenty of genuine childlike wonder, while Walken is absolutely superb as the singing Gigantopithecus, King Louie.
Wonderfully told and gorgeous to look at, The Jungle Book is not only a marvellous technical achievement in filmmaking, but a commendable and surprising achievement in storytelling.