Sign in using your account with
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.
Wally Pfister’s directorial debut – a slow and relatively complicated take on the world of artificial intelligence – falls short of the type of thrill needed to push Transcendence into the major leagues of sci-fi.
Written by a fellow first-timer, Jack Peglan, Transcendence lends its focus to Will Caster (Depp); a prominent leader of the artificial intelligence research who, along with wife Evelyn (Hall) and fellow researcher Max (Bettany), hopes that computers will one day be able to think for themselves and, inevitably, replace humans and the ill-intentioned ways of mankind.
However, Will’s radical way of thinking soon makes him a target for an underground anti-tech terrorist group led by Bree (Mara), who decide to take out the A.I pioneer by shooting him with a radioactive bullet, leaving him to die a slow and a painful death.
Not prepared to let go of her husband just yet, Evelyn reaches out to Max and manages to convince him that the only way they can keep Will and his work alive is to download his brain – and consciousness – into the system, before his body completely deteriorates.
The experiment is a success, but the new computerised version of Will is not the same man they all once knew, but a cold mechanical shell obsessed with accumulating both knowledge and power. With the help of a renowned computer scientist, Joseph Tagger (Freeman,) and FBI agent Buchanan (Murphy), Max begins to look for ways to put an end to Will, while Evelyn, desperate to hold on to the man she once loved, is hesitant to let go.
Pfister, a long-time Chris Nolan collaborator who served as cinematographer for most of his productions, definitely knows how to work the camera and manages to paint Transcendence with a crisp, pallid polish. Everything from the special effects to the choice of framing looks absolutely superb. However, its steely façade doesn’t make up for the shallowness of the story, which goes from confusing to downright ridiculous pretty early on.
In terms of the performances, the cast struggles with their underwritten roles and, consequently, feel utterly disengaged from the story altogether. Showing off a more subdued side, Depp is relatively passive and indifferent in his performance of a man who quickly loses sight of what’s right and wrong as he begins living in his own creation. Freeman and the rest of the supporting cast are underused, while Hall – as Depp’s despairing onscreen wife – is left with little to build with on the emotional side of the story.
In the end, Transcendence flatters to deceive; from the lack of onscreen chemistry and character development to the absurdity which the story quickly escalates to, this latest wannabe sci-fi blockbuster – although pretty to look at – is just a little too dull to stand with the big boys – so to speak.
Tinker Bell, who made her first appearance in 1953’s animated picture Peter Pan, returns in the fifth installation of her popular Tinker Bell franchise, The Pirate Fairy; an infectious and thoroughly charming story of friendship and sisterhood.
Directed by Peggy Holmes, The Pirate Fairy follows the adventures of Tinker Bell – a.k.a Tink – (voiced by Whitman) and her five fairy friends; the Garden Fairy, Rosetta (Hilty), water fairy, Silvermist (Liu), light fairy, Iridessa (Raven-Seymone), wind fairy, Vidia (Adlon) and finally, animal fairy, Fawn (Bartys).
The girls live in Pixie Hollow; a magical fairy community where everyone has been given a duty based on the talent revealed to them at birth. Life is seemingly peaceful for the five friends but trouble soon comes knocking when Zarina (Hendricks), the new fairy in charge of the production of fairy dust, decides to perform a forbidden experiment with the rare Blue Dixie Dust – an important ingredient used to make the fairy’s gold-blue dust powder – resulting in a near-catastrophe at the lab.
Relieved of her position as the Dust Keeper, Zarina flees Pixie Hollow, only to return a year later for the Dixie Dust. It’s now up to Tink and her friends to pursue Zarina, who they soon learn has become the captain of a pirate ship, and convince her to return to where she truly belongs; in Pixie Hollow. However, Zarina’s new friend, James (Hiddleston), a pretend-cabin boy has other plans for the fairies and the fate of Pixie Hollow altogether.
Serving as a prequel to Peter Pan’s 2002’s Return to Never Land, The Pirate Fairy will please fans of the franchise, who will be happy to see their favourite fairy – and her devoted group of followers – return with their peace-loving ways. It’s a simple story with just enough colour and vibrancy to keep things moving along. Although its animations and overall technical quality is nowhere near the likes of Pixar productions, for example, the story is strong enough to compensate for its drawbacks.
Whitman, who has been with the franchise since the beginning, returns as Tinker Bell and once again shines as the determined and lovable leader of the fairies. However, it’s Hendricks – popular for her role as Joan Harris of the TV’s Mad Men – who steals the show as the feisty and the often misunderstood Zarina who manages to get herself mixed up with the wrong crowd.
Similarly, Hiddleston – better known for his portrayal of Thor’s evil brother, Loki – is superb and deliciously devious as cabin boy James whose destiny as Captain Hook is yet to be fulfilled.
Ultimately, The Pirate Fairy is a story about friendship and understanding. It may not be as big or majestic as Disney’s last outing, Frozen, but it’s still engaging enough to stand on its own feet.