Directed By Dean Deblois
Starring – Jay Baruchel, Cate Blanchett, Gerard Butler
The Plot – As Hiccup (Baruchel) fulfills his dream of creating a peaceful dragon utopia, Toothless’ discovery of an untamed, elusive mate draws the Night Fury away. When danger mounts at home and Hiccup’s reign as village chief is tested, both dragon and rider must make impossible decisions to save their kind.
Rated PG for adventure action and some mild rude humor
– Consistency in animation amazement. Considering this is a film series that has been released by three different studios, it’s the prestige associated with Dreamworks Animations that have allowed it to thrive by remaining true to itself. There’s a fine combination of wonder and beauty associated with the adventurous movements of the camera, as well as the detailed illustrations of costume and character trait that gives definition to appearances, and these are only further impactful when you consider that the legendary Roger Deakins is once again behind the movie’s cinematography. Deakins prescribes us a dose of fantasy immersion that almost allows us to feel the wind in our hair from these vibrant showcases of airtime, and the scenes of the hidden world itself are among my favorite setting for an animation film in quite a long time.
– Adds value to the previous chapters. For my money, the best kind of films give us a desire to re-visit previous installments to see if later narratives consistently hold up, and this is one trilogy that moves and breathes as one cohesive property because of Deblois’ continued interest in adding prestigious layers to kids films. There is one such subplot about the Night Fury’s that helps clear up some plot holes that I had for the first movie clear up. It’s not the only instance of this powerful capability, and only instills in me an air of respect for Dean and his vision in building each chapter simultaneously, even after its shelf life has expired.
– Maturity of the dialogue. One thing that becomes clear about this movie almost instantly is the influence of more comedic-driven dialogue and material that easily makes it the most light-hearted of the series. This was something that worried me after seeing the trailer, for reasons that it would take away from the focus of the conflict, in turn diminishing the urgency of the atmosphere. But I must say I was wrong, as the material is not only positively tasteful, it also hits its mark effectively more times than not. I love an animated film that can make me laugh as well as keep my attention in the narrative, and if more films were like “The Hidden World”, the world of kids films would be a better place.
– Characters first. This third film in the series is proof of the major payoff that supplanted enough weight in emotional registry and audience investment, thanks to the evolution of this growing group of characters who bonded as a family. Thankfully, this film also supplies the strongest antagonist of the entire series, harvesting enough uncertainty in the unfolding of this long distance journey to prove why 3 is only a number. There’s a constant reminder of previous plots and predicaments each time you see a particular character, giving respect and reminder to the past, while building them closer to the future that has inevitably awaited them all this time. We, just like the characters, have grown with this series, and that reflection benefits us in ways that pays off tenfold to the story, structure, and the world that Deblois helped create.
– The equal balance of tonal territory from musical composer John Powell. The music itself in the film envelopes these tense scenes of action and expedition with an evening of dream and devastation that give the scenes it accompanies an audibly reflective roar that channels more emotion than words ever could. Deblois has such confidence in Powell that he removes any kind of distraction in the form of dialogue or on-set sound design from intruding. For a few exceptionally long takes on this wild ride, Powell’s orchestral influence is all that we the audience hear, and it almost makes every first line that follows after it release this air of disappointment that snaps us out of the impressive partnership of sight and sound that enhances the artistic merit for the film.
– A big name behind every corner. Aside from Baruchel’s captaining, which has been a star-making turn for the leading man, the work of big name presences like Blanchett, Butler, Jonah Hill, Kit Harrington, Kristen Wiig, Christopher Mintz-Plasse, America Ferrera, and Craig Ferguson preserves a velvet rope where only the biggest are invited. I left out F. Murray Abraham for a reason, and that’s because as Grimmel, the film’s prime antagonist, the sun turns back and allows us to focus on the greatness that is Abraham one more time. Grimmel isn’t the villain you come to understand, but the one you fear for his sense of purpose that prove some dark days are ahead for these dragons. The film has no problem tapdancing on our devotion to Toothless, and it allows Abraham the ability to shine under his most sinister.
– Smooth fluidity in the pacing. At 97 minutes, this film is the quickest of the three movies in the series, but its runtime is only a metaphor for the movement through the three act structure that flows so breezy that I wouldn’t have been angry with another twenty minutes to better flesh out some of the supporting cast. Because of this light runtime and the benefit of watching a movie that knows and delivers to its audience, we get as easy of a sit as you’re going to find, and what’s more convincing is that it’s one that the whole family can enjoy.
– Finality with the ending. There is no hint at a fourth film, nor is there unanswered questions left that leave us searching for more breadcrumbs on the path to closure. What does emerge is an ending that is every bit satisfying as it is reflective, as sentimental as it is responsible, and as poignant as it is heartwarming. After three great films, it’s tough to say that I wouldn’t want to see more from this franchise, but for me there has never been a series that has had three near equally great films in its clutches, therefore the weight associated with goodbye has never felt as therapeutic as it has here. We can say that this is a film that never had a single bad installment. How often does that happen in any franchise?
– No arcs in the way of supporting characters. The biggest negative for me are these friends from Hiccup’s past, present, and future, who serve as nothing more than props to the focus of this particular narrative. There’s very little focus or mention of them in anything that doesn’t involve Hiccup or any of the other dragons, and that’s a bit of a letdown considering they all were pivotal pieces to the franchise at one point or another. This gives the film a reminder of it having too many characters and not enough for all of them to do, and if your favorite character is someone other than Hiccup, this will challenge you in ways that you weren’t expecting.
– While I enjoyed the structure and motivation for Grimmel as an antagonist, the film unfortunately falls into the hole of conventionalism, as every choice the character makes only hinders the ideas in his plan. For instance, there is an attack in the film by Grimmel’s army, where they more than make their presence felt, and despite this he refuses to land the crushing blow for any reason other than the convenience of plot. This doesn’t exactly spoil the ending of the movie, but it does meander some of the menace to Grimmel that made you believe in the power of his punch, and I wish there were better ways the film could’ve exploited prolonging the conflict for reasons that aren’t as obvious.
My Score: 8/10 or B+