How To Train Your Dragon

 

This review may contain spoilers!

How To Train Your Dragon is a live-action remake of the 2010 film of the same name and a loose adaptation of the Cressida Cowell novels.

For a long time now the major complaint about the live-action remake has been the way they have all gone through major deviations, essentially abandoning the original film that they spawned from. However, DreamWorks makes a smart move by placing the original creative lead, Dean DeBlois, back at the helm for this adaptation. This creative link ensures that the original message and narrative beats are conveyed effectively. We get the chance to see the world of Berk, only it feels a little more real as humans interact, fight with and befriend the titular dragons. Taking on Hiccup's journey as an outcast who wants to belong, only to develop an unlikely bond that changes the Vikings forever is incredibly charming. I loved that this movie didn't pull punches. Moments where a fight had to have stakes we would see Vikings fall or our heroes in real peril, Hiccup and Toothless' bonding was really gradual and nice to fall into and the Red Death's reveal is a genuinely terrifying moment in the feature. This film might have lost a couple of scenes but it largely kept the script of the original, allowing this film to bring How To Train Your Dragon to a whole host of new young Vikings in the audience.

The visual effects for this film are pretty good for the most part. I most enjoyed how the dragons felt so characteristic, they were entirely expressive and the designs were as varied as they were in the original series. John Powell returns to give the iconic score one more go fresh, each song really uplifts the quality of a scene. Hiccup and Toothless' first flight is one of those iconic film moments that stays with you long after you've left the movie theatre.

Nico Parker, who played Astrid, does a great job of bringing Astrid's character journey to life; Parker presents a more aggressive character who finds inspiration in Hiccup and Toothless' bond. Gerard Butler, who played Stoick, looks like he is having the time of his life in this film; Butler really leans into the comedy of Stoick more successfully than I expected. Nick Frost, who played Gobber, is an admittedly decent pick for the teacher of the next wave of dragon-slaying Vikings; Frost wears his character's heart on his sleeve a bit which works admirably. Gabriel Howell, who played Snotlout, is a ton of fun as the cocky young Viking trying to impress everyone; I found Powell entirely entertaining without being too arrogant in his character. Peter Serafinowicz, who played Spitelout, did a lot without needing to say much at all; his rough-edged father figure paired nicely with Powell's Snotlout. Naomi Wirthner, who played Gothi, is a performance that really added an intriguing element to the world of Berk; Wirthner's Gothi managed to be mysterious and mystical without even needing to contribute dialogue.

However, the best performance came from Mason Thames, who played Hiccup. I have no idea how far they cast the net for this role but it was clearly the exact right amount. Thames is nearly flawless as the live-action Hiccup. He has a nervous and slightly off-kilter personality that makes Hiccup a bit of an outcast in the Viking village of Berk. Yet, he also has such a big emotional range and is relentlessly earnest. I loved the moments where he got a more determined edge to Hiccup, seeing him fight for Toothless and for his people to change for the better makes How To Train Your Dragon the special film that it is. I hope Thames gets the complete trilogy, he has more than earned it.

For better or worse, How To Train Your Dragon is exactly what the original animated film is. Beat for beat this film is the same, so it will not surprise you nor unfurl some major new plot point to keep it fresh. I feel the big criticism for live-action remakes beyond why on Earth they keep making them is that they often deviate too much from the original material. Here they find the best from the original work, but that can also be its own weakness.

Overall, the biggest failure of How To Train Your Dragon is the visual camera work. I often found the cinematography missed the best angle it could have found in a scene, favouring poorly framed close-ups or shots that only really serve to set up a visual effect. While I think the overall special effects in the film are good, that first village fight scene was really average and many of the flight scenes are blurry.

Julian Dennison, who played Fishlegs, is a New Zealand actor who has really struggled to make his mark in a blockbuster; Dennison was awkward and one of the characters I least wanted to see onscreen. Bronwyn James and Harry Trevaldwyn, who played Ruffnut and Tuffnut respectively, just pushed the comedic relief angle too hard; in a film where there was plenty of humour present, there was never much need for performances that oversold it. 

One of the most faithful and entertaining live-action remakes in years. I would give How To Train Your Dragon an 8.5/10.

Ballerina

 

This review may contain spoilers!

Ballerina is the first spinoff film in the John Wick universe, set between the events of John Wick: Chapter 3 - Parabellum and John Wick: Chapter 4. In this film, we follow Eve, a young assassin trained by the Ruska Roma, who goes off on a revenge mission when she encounters the group that murdered her father.

I love how scrappy Ballerina is throughout. Where watching John Wick is about watching a master assassin sweep his way through a room brimming with goons, Ballerina presents more of an underdog revenge mission. Eve enters this film through a fairly compelling tragic origin and an adrenaline-filled training sequence that sees her getting moulded into the fighter we've all come out to see. This is a film in which the protagonist struggles, she is smaller than most of her opponents and her punches don't pack a wallop. Seeing this character learn to fight more effectively as if her life depends on it, makes this an interesting premise from the beginning. We know Eve is going to hurl herself at her opponents like an animal, clawing her way through a fight creatively and without compromise. Eve's descent into the world of the High Table is fascinating, and this development introduces a new cult faction, making for a unique adversary. I appreciated watching Eve work her way up the ladder to achieve her revenge - even being judged for her righteousness by the Baba Yaga himself. The best aspects of this film come from seeing Eve fight her way through a killer village, that felt fresh for the John Wick universe.

This is a film that captures action brilliantly, thinking of ways for the camera to latch onto the most original form of movement to really make those brawls flow. Pairing neatly with that is just how nicely the editing weaves this production together; the action sequences involve very intensive cutting, which makes the film look all the better for it. I was blown away by the stunts across Ballerina, like a John Wick film the theme seems to be creativity first and choreography only half a step behind. The score for this film is nothing short of thrilling, with a real adrenaline pulse present throughout and a neat Tchaikovsky number scattered to weave an emotional bond with the character. Having a track from Evanescence and Halsey both meant this film had a broody, tough edge to close on that perfectly mirrored the tone of Ballerina.

Ana de Armas, who played Eve, leads this film with the same amount of intense drive that made Reeves' Wick so famous; de Armas has a primal ferocity and rage on show that really makes you sit up and pay attention. Keanu Reeves, who played John Wick, is such a staple of this franchise and a welcome return; Reeves presents a more morose and benevolent side of Wick here that I quite enjoyed. Anjelica Huston, who played The Director, is still an imposing force within this world; Huston lends a cold edge to this character which I loved. Gabriel Byrne, who played The Chancellor, is one of the most memorable antagonists in the John Wick universe yet; Byrne presents himself with such charisma while talking about spine-chilling actions. Ava Joyce McCarthy, who played Ella, is a brilliant child performer; she didn't get boxed into type and really gave her role a mean edge where required. Norman Reedus, who played Daniel Pine, is giving more than you might expect with his fatherly assassin; this role was quite a selfless type who pushed himself for the sake of his daughter. Lance Reddick, who played Charon, isn't in this for long but gives as good as ever; Reddick was a real treasure as Charon and he is an actor who will be sincerely missed. Abraham Popoola, who played Frank, is a role I'd love to see back in this universe; Popoola found the perfect balance between campy and cool.

However, the best performance came from Ian McShane, who played Winston. This character is such a brilliant fixture of the John Wick universe. McShane is entirely elegant and sophisticated in his delivery, making the actual person he is portraying both alluring and mysterious. In this feature we get the more benevolent side of Winston, seeing him shelter and protect young Eve. McShane does a great job of being the doorman in this almost fantastical world of killers and assassins. I was especially impressed with the way McShane subtly steers de Armas to her path of revenge. Winston becomes this figure for justice within the world of darkness he resides in, which has always been one of the most fascinating facets of his character.

I greatly enjoyed Ballerina, it feels like another sign that the John Wick universe is the safest place to go for good action. However, where Ballerina suffered is just how ridiculous it decided to get at times. I felt this film tried to be creative wherever possible, but it so frequently undercut this with a sequence that felt almost cartoonish. The grenade sequence and the flamethrower sequence in particular got a bit overbearing. Ballerina also tried a bit too hard to come off as a dramatic character piece at times, delivering Eve some plot twists around her past that were uninspired. This movie didn't need to make Eve's story overly complex, her revenge angle served the narrative enough. I also enjoyed seeing John Wick in this, but he was used a lot more than was really required. John Wick diving into the action at the end of the film as Eve's fight sequences were tapering out stole the thunder of her ending a bit. The focus was shifted from Eve right when it should have stayed squarely on her.

Catalina Sandino Moreno, who played Lena, just feels like an error within the story; the commitment to the secret sister arc is an emotional push that winds up having no weight behind it. Sharon Duncan-Brewster, who played Nogi, really gets saddled with the exposition dumps for this feature; I also found her being delegated the constant pep talks quite frustrating. David Castañeda and Victoria Comte, who played Javier and Young Eve respectively, weren't the most interesting aspects of Ballerina's opening; I particularly found Comte a difficult young performer to engage with as the child version of the leading role. 

This is just further proof that the world of John Wick continues to dominate the action film scene. I would give Ballerina a 7.5/10.

Mountainhead

 

This review may contain spoilers!

Mountainhead is almost a one-room drama of sorts involving four billionaires as they vent about their business woes, the disruptive consequences of their own A.I., and the idea of taking over world nations and crafting the perfect murder.

This movie is an interesting take on satirising modern billionaires and the power they wield. While I felt a lot of this movie lacked a decent narrative throughline, the presentation of the message was clear and decent enough. These characters are all very callous, none of them come near to being grounded and one even acts like 'other people' don't really exist. These characters release products into the world that have a global negative impact, and don't assess how to fix it but instead attempt to find humour in the situation. Everything is about reputation and how to get an edge over others to enhance their financial profiles. One character takes a sociopathic bend because he becomes convinced he needs to kill one of the others so that his consciousness can be uploaded digitally when the science progresses there. This seemingly convoluted fear of mortality turns into a crazy plot where three of the characters attempt the most ineffectual murder in history. This film does a lot of this, the characters talking about doing these big serious sweeping things and not really advancing towards an actual outcome. A light barb that billionaires are morally bankrupt and also only looking to make effectual change for themselves.

Jesse Armstrong has a pretty crisp visual style, with the camera keeping things active and interesting in spite of the singular location. I loved how dynamic the lighting was and how the camera sought every possible interesting angle of interaction. The score by Nicholas Britell is quite a delicate, almost trance-like sound that is virtually crystalline and perfect in sharp contrast to the characters at the core of this story.

Steve Carell, who played Randall, is a more sociopathic and emotionally devoid role; Carell's character is probably the most cutthroat in his willingness to betray others to preserve himself. Cory Michael Smith, who played Venis, looks to be having incredible fun playing the clear Elon Musk parody; this is a character who runs through some very extreme turns of emotion that happen at very surprising points in the script. Ramy Youssef, who played Jeff, is very intriguing as the more morally conscious member of the group; Youssef's character incites the most conflict which makes him fun to watch.

However, the best performance came from Jason Schwartzman, who played Souper. This is a character who is a simpering hanger-on to the big billionaires at the table. Schwartzman's role isn't a billionaire, the only one at Mountainhead with a net worth only in the millions. He walks around desperate for the approval of the other three, wanting to be seen as something close to an equal. The initial grovelling is embarrassing in the face of unabashed confidence or indifference, yet Schwartzman doubles down further and further. When he gets so desperate that he becomes the active pawn in a murder plot, we see how wretched and shallow this character truly is in the face of his ambition. He barely contains his glee at rolling over a rival to be held in better esteem by the end of the film. None of these characters is likeable, but Schwartzman's role certainly has the most interesting dimensions to it.

I really struggled to find the plot in Mountainhead. The story is really these four band together, talk some ideas but act impotently about them and then turn on one another for the sake of greed. It's a pretty shallow satire at best, depicting familiar celebrity billionaires via dramatic parody but without anything deep to say beyond what one might expect criticism of billionaires to look like on a surface level. The fact the comedic murder attempt story is as close as this film gets to a linear narrative is underwhelming. It's clearly a movie that thinks it has more to say than it really does, but the points aren't really these big intellectual discussion topics. This is a film that feels more like a corridor debate between university students than something helmed by an Emmy-winning creator.

The editing for Mountainhead is slow, no doubt owing to the limited ability to cut within a singular location. Unfortunately, it still contributes to a more sluggish presentation of the story.

More of a college philosophy bro's character assassination of a pack of billionaires than a groundbreaking satire. I would give Mountainhead a 6/10.