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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.
Taking on what’s probably one of the most implausible premises known to man, the latest offering from Training Day director, Antoine Fuqua, goes a little too far on bending the laws of reason and logic in the exceptionally contrived, cheesy and the remarkably violent, The Equalizer.
The story follows the life of one Robert McCall (Washington); a friendly, cautious and an unassuming middle-aged man who spends his days working the floors of a local Home-Mart, before returning home to a tidy one-bedroom apartment to eat his dinners alone. Suffering from a serious case of insomnia – and what appears to be a generous touch of OCD – Robert spends most of his evenings at a local diner, rearranging cutlery, reading books and enjoying the unobtrusive company of other restless souls.
On one such night, he befriends Teri (Moretz); a troubled young woman - and a frequent diner visitor – who earns her cash working as a high-end hooker for anunforgiving Russian pimp, Slavi (Munier). It’s obvious to Robert, who takes an instant liking to the young girl, that she has lost her way and encourages her to change her world and pursue her dreams of becoming a singer. Unfortunately, things don’t go so well for Teri, who - as Robert soon finds out - is landed in the hospital by her employers.
Unable to sit back and ignore, Robert decides to take matters into his own hands and soon finds his way to Slavi – and the rest of his crew - to buy Teri’s freedom from them. However, when the Russians decline, Robert has no choice but to take extreme measures; a move which quickly puts him in the crosshairs of the Russian mob.
The Equalizer is actually based, very loosely, on a little television show from the late eighties. However, the similarities stop at the character’s name; everything else has been changed and tailored to fit Washington’s trademark bad-ass passiveness, which just so happens to echo his character from the highly superior Man on Fire. Taking its time to develop, the first half of the film is dedicated to introducing us to the main character which is actually pretty engaging. However, the script loses its shape the minute the violence is unleashed. It's here that Fuqua, who also decides to channel in every single cliché from the book of revenge, crumbles and the idea of a man fighting – totally unaided - against the Russian mob seems like something that is probably better saved for the Die Hard franchise instead.
One thing is for certain, though, without Washington’s captivating and grounded presence, The Equalizer wouldn’t have amounted to very much.
Careless and seemingly unable to find its own footing, the lack of heart and originality found in the latest reimagining of the ‘80s comic-book and film series franchise is disappointing and while there are moments of praise to consider, its shortcomings are a little difficult to disregard.
The streets of New York are terrorised by an underground criminal organization called the Foot Clan, commanded by an ominous figure known as Shredder (Masamune). At the heart of it all is the ambitious TV reporter, April O’Neil (Fox), who – despite the continuing objections from her clearly-besotted cameraman, Vernon (Arnett) – is looking to break out of reporting irrelevant news pieces and move on to much bigger stories.
Her timing, as it happens, couldn’t be better when, while out investigating a lead one night at the docks April witnesses members of the Foot Clan in a hard-hitting confrontation with a group of shadowy ninja-like figures. Determined to reveal the identities of these so-called vigilantes, April soon finds herself face-to-face with the talking and walking six-foot masked turtles, otherwise known as Leonardo (Ploszek), Raphael (Ritchson), Donatello (Howard) and Michelangelo (Fisher).
Raised in the City’s sewers by their rat-master, Splinter (Shalhoub), the four turtles have been training for years to stand up to Shredder and they are soon given that chance when they learn of the plans of a poisonous gas being released over the city.
There seems to be a lot of uncertainty and ambiguity in Jonathan Liebesman’s approach to the subject at hand and the challenge of reviving a thirty-year-old iconic franchise proves to be a rather tricky task for the Wrath of the Titans director. Written by an army of writers and produced by Michael Bay, Teenage Mutant Ninja Turtles suffers from an sloppy script , awkward pacing and, despite efforts give the very concept a little more depth the end-result feels shallow and undercooked.
Luckily, the action and the visual effects are pretty refined and while the surprisingly potent violence can be a little bit too much to bear, you can tell that a lot of time and effort went into the digital creation of the mutants themselves and the world around them.
Regrettably, the performances are just as unmemorable as the story itself; this applies to Fox most, who seems to be stuck with the same staggered expression the whole way through. The motion-capture translates quite satisfyingly, though the menacing presence of Shredder and the righteous aura of Splinter is never fully realised.
The film as a whole is polished but is short on subtlety and complexity, never finding the charm and nostalgia that initially triggered so much interest in the project.