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How to Train Your Dragon is a 2010 American computer-animated action fantasy film loosely based on the 2003 book of the same name by British author Cressida Cowell, produced by DreamWorks Animation and distributed by Paramount Pictures. The film was directed by Chris Sanders and Dean DeBlois from a screenplay by Will Davies, Sanders, and DeBlois, and stars the voices of Jay Baruchel, Gerard Butler, Craig Ferguson, America Ferrera, Jonah Hill, Christopher Mintz-Plasse, T.J. Miller, and Kristen Wiig. The story takes place in a mythical Viking world where a young Viking teenager named Hiccup aspires to follow his tribe’s tradition of becoming a dragon slayer. After finally capturing his first dragon, and with his chance at last of gaining the tribe’s acceptance, he finds that he no longer wants to kill the dragon and instead befriends it.

A hapless young Viking who aspires to hunt dragons becomes the unlikely friend of a young dragon himself, and learns there may be more to the creatures than he assumed.

 

Long ago up North on the Island of Berk, the young Viking, Hiccup, wants to join his town’s fight against the dragons that continually raid their town. However, his macho father and village leader, Stoik the Vast, will not allow his small, clumsy, but inventive son to do so. Regardless, Hiccup ventures out into battle and downs a mysterious Night Fury dragon with his invention, but can’t bring himself to kill it. Instead, Hiccup and the dragon, whom he dubs Toothless, begin a friendship that would open up both their worlds as the observant boy learns that his people have misjudged the species. But even as the two each take flight in their own way, they find that they must fight the destructive ignorance plaguing their world.

 

In a world with dragons, this movie takes place on the island of Berk. Hiccup, son of Stoik, wants to be a dragon killer like his dad, but his dad refuses. One night on an invasion of the dragons, Hiccup catches a Night Fury, the rarest and an unseen dragon of them all to prove to his father he is worthy. But while his father is away to find the nest of the dragons, he allows Hiccup to start training to kill dragons, and at the same time, Hiccup trains with with his newly found dragon Toothless since when he was caught, lost a part of his tail. But while Hiccup tries to persuade the other vikings that the dragons are good not bad, they have a hard time believing so.

 

Stoick the Vast, the giant widower chief of the though Viking village of Nordic island Berk, has practically given up hope for his smart, sensitive ‘sissy shrimp’ son Hiccup, the cripple blacksmith’s clumsy apprentice, to grow into a real Viking and contribute to their regular combats fighting off the copious plague of dragons. Grounded again after fouling another dragon attack-ward-off, Hiccup wanders in the forest and stumbles upon a tied-up baby dragon. Unable to kill it, he frees it and finds it became tame and friendly, designs a prosthesis for its half tail and accidentally learns to fly ‘Toothless’. Learning from it the truth about dragons, he aces the villages annual young warriors dragon slaying class without dangerous violence. Now Stoic expects Hiccup to kill a dragon, and partake in the annual attempt to find and destroy the dragons’ layer by ships, but flying toothless he discovers the actual challenge and takes it on.

 

On the fantastical island of Berk, Hiccup is an awkward 15-year old kid, living in the shadow of his Viking Chief of a father. In order to cement his manhood and earn the respect of his fellow vikings, Hiccup must tackle the tough task of capturing a dragon. During one of the village’s battles, Hiccup believes he sees a Night Fury, one of the most elusive dragons on the island, and shoots it down. Curious to identify his shot, Hiccup goes looking for and indeed finds the dragon, albeit trapped in his bolas in a forest. Little does Hiccup realize the unlikely friendship, and discovery about the dragon species, that lies before him.

 

The son of a Viking chief, Hiccup, desperately wants to follow his father’s legacy and fight the dragons that raid their village. But when he finally hits a dragon and finds it crash landed in the forest, and is unable to bring himself to kill it, Hiccup soon realizes that the dragons aren’t at all what the Vikings have always believed them to be.

The Viking village of Berk, located on a remote island, is attacked frequently by dragons, which take livestock and damage property. Hiccup, the awkward fifteen-year-old son of the village chieftain, Stoick the Vast, is deemed too scrawny and weak to fight the dragons, so he instead creates mechanical devices under his apprenticeship with Gobber, the village blacksmith, though Hiccup’s inventions often backfire. During one attack, Hiccup uses a bolas launcher to shoot down a Night Fury, a dangerous and rare dragon of which little is known, but no one believes him, so he searches for the fallen dragon on his own. He finds the dragon in the forest, tangled in his net, but cannot bring himself to kill it, and instead sets it free.

Stoick assembles a fleet to find the dragons’ nest, and enters Hiccup in a dragon-fighting class taught by Gobber with the other teenagers, Fishlegs, Snotlout, Ruffnut, Tuffnut, and Astrid, a tough Viking girl on whom Hiccup has a crush, to train while he is away. Hiccup returns to the forest and finds the Night Fury still there, unable to fly because Hiccup’s bolas tore off half of its tail fin. Hiccup befriends the dragon, giving it the name ‘Toothless’, after its retractable teeth. Feeling guilty for crippling Toothless, Hiccup designs a harness rig and a prosthetic fin that allow the dragon to fly with Hiccup controlling the prosthetic.

Hiccup learns about dragon behavior as he works with Toothless, and is able to nonviolently subdue all the captive dragons during training, earning him the admiration of his peers, but causing Astrid to become increasingly suspicious of his behavior. Meanwhile, Stoick’s fleet arrives home unsuccessful, though Stoick is cheered by Hiccup’s unexpected success in dragon training. Hiccup is judged the winner of his training class, and must kill a dragon for his final exam. He tries to run away with Toothless, only to be followed by Astrid in the forest. Hiccup takes Astrid for a flight to demonstrate that the dragon is friendly. When Astrid reminds Hiccup of the exam, Toothless unexpectedly takes the pair to the dragons’ nest, where they discover a gargantuan dragon named the Red Death, which eats the smaller dragons unless they constantly bring it live food; the two realize that the dragons have been attacking Berk under duress. Astrid wishes to tell the village about their discovery, but Hiccup advises against it to protect Toothless.

Back at the village the next day, Hiccup faces a captive Monstrous Nightmare dragon in his final exam. Instead of killing it, however, he subdues it in an attempt to prove that dragons are peaceful. When Stoick inadvertently angers the dragon into attacking, Toothless arrives to protect Hiccup, but is captured by the Vikings in the process. Hiccup accidentally reveals to Stoick that Toothless knows the location of the dragons’ nest; Stoick disowns his son, and sets off for the nest with Toothless chained to the lead ship as a guide. After the Vikings have left, Hiccup is devastated, but Astrid prompts him to come to the realization that he spared Toothless out of compassion and empathy, not weakness. Hiccup then regains his confidence to go after Toothless and save him along with Astrid and the other teens.

The Viking attackers locate and break open the dragon’s nest, causing most of the dragons to fly out, but also awakening the Red Death, which soon overwhelms the Vikings. Hiccup, Astrid, and their fellow pupils fly in, riding Berk’s captive training dragons, providing cover fire, and distracting the Red Death while Hiccup frees Toothless. Hiccup almost drowns while doing so, but Stoick saves them both, reconciling with his son. Toothless and Hiccup lure the Red Death into a fight which is pursued above the clouds. The two manage to destroy the Red Death by puncturing its wing membranes and then tricking the beast into making a plunge from which it cannot pull up after shooting a fireball into its mouth. Hiccup is injured in the fight, losing his lower left leg. Hiccup awakens back on Berk, finding that Gobber has fashioned him a prosthesis, and he is now admired by his village, especially Astrid, who kisses him. Berk begins a new era, with humans and dragons living in harmony.

Wikipedia

 

Reviews

Bat America

It is a must watch for those who wish to stray from the generic Dream works formula. The main characters are exceptionally charming, and Toothless is excellent comic relief. While the film falls short with side character involvement or real memorability, it barely affects most viewers. I remember watching this in 3D as a young child, astonished by such vibrant imagery however, that isn’t what keeps me coming back. While the animation and jokes are well done, what keeps me coming back is Hiccup’s relationship with Toothless. It has a timeless value like Lassie and Timmy. Whenever this pair is on screen, the writing is at its peak. The opening scene (which I won’t spoil) should show anyone what on screen chemistry should be in children’s programming. It particularly benefits from slapstick as pose to crude humor such as Shrek, Shrek 2, The Croods, etc. While I like that film, How to Train Your Dragon wouldn’t flow the same way without universal humor for all ages. The antagonist is a clever commentary on those who rely too much on fear for their goals. Certain character depth is surprisingly complex for a Dream works picture! While How to Train Your Dragon 2 is interesting, it relies more on this film that it’s own identity. These sequels are impressive, don’t get the wrong idea; but like many franchises the original won’t be topped. My Rating 3.5 out of 4.

 

 
UA Man

A criminally underrated film that manages to capture everything a film needs to be. One word to describe How To Train Your Dragon is ‘breathtaking’. From overwhelmingly gorgeous visuals to a stellar score. Not to mention the film’s moving story about coming of age, which is executed so well with incredibly subtle undertones that help take the already fun and engaging narrative and turn it to a brilliantly paced, gripping and emotionally driven motion picture with great characters and an inviting and vibrant world. How To Train Your Dragon isn’t just the best DreamWork’s movies, it’s one of the best movies in general.

 
 

 
Lydia Atteberry

This movie was my childhood. It will forever be in my heart. I remember seeing it for the first time and walking out of the theater like I had just seen the holy grail. I was obsessed with it, and still am 9 years later. This movie affected me in a way I don’t think I can explain to anybody. It made me into the person I am today, and inspired me in my art and storytelling. I still get chills watching this movie, and almost always cry hearing the ending song with the credits. Thanks dreamworks. You truly made something beautiful that inspired younger me like nothing else. 10/10

 
 

WHAT’S THE STORY?

In HOW TO TRAIN YOUR DRAGON, on the Viking island of Berk, everyone is bestowed scary monikers and is taught how to kill invading dragons except for a young teen named Hiccup (voiced by Jay Baruchel) who’s the exception to the rule. He’s a lanky young blacksmith’s apprentice with little dragon-slaying potential — a fact that chagrins his father, the clan chief Stoic the Vast (Gerard Butler). During a nighttime dragon attack, Hiccup manages to capture the most mysterious dragon of all — the Night Fury — but when faced with the creature, he can’t kill it. Instead, Hiccup, who is accepted into dragon training with other new recruits — arrogant Snotlout (Jonah Hill), bickering twins Ruffnut (T.J. Miller) and Tuffnut (Kristen Wiig), timid Fishlegs (Christopher Mintz-Plasse), and the beautiful and brave Astrid (America Ferrera), gets to know his new pet dragon, who he names Toothless, and uses his knowledge to quietly calm all of the dragons the recruits must face. But when Hiccup’s secret is revealed, will the Vikings (particularly his father) thank him for discovering the dragons aren’t all cruel killers or brand him a dragon-loving traitor?

IS IT ANY GOOD?

Based on author Cressida Cowell’s book, the story is surprisingly touching. It’s not just about a nerdy kid hoping to show-up his peers and win the attentions of a pretty girl in the process. It’s about the pressure of living up to your father’s expectations, self identity, war and peace, growing up, and other seemingly heavy themes that are seamlessly woven into a funny, gripping adventure. Ferrera, who at first seems like an odd choice to voice a platinum blond Astrid, is pitch-perfect, with her authoritative voice making Astrid sound appropriately confident and mature. As in Baruchel’s live-action comedy, Astrid seems out of Hiccup’s league, but she’s open-minded enough to realize he’s special — just like this movie.

How to Train Your Dragon is actually worth the momentary headache that 3-D glasses can cause. It’s spectacular, particularly when coupled with fire-breathing dragons flying around a colorful fictional island. The detailed animation on the Vikings (who are inexplicably depicted as more Scottish than Scandinavian, perhaps because Butler and Craig Ferguson, who’s the dragon-training teacher, have such great accents) and the dragons (so many different kinds, all with their own quirks and strengths) is on par with Pixar — the standard-bearer of animation.

Walter Mitty (Stiller) lives his life quietly, afraid to stand up for himself when his job at Life magazine is threatened and scared to confess his feelings to his co-worker, Cheryl (Wiig). He finally embraces life when he loses a vital photo needed for Life’s final issue and the only way to retrieve it is to find the photographer, who could be anywhere in the world.
 

 

Walter Mitty is a man, and that’s really about it. He is a person who doesn’t so much defy description as fail to invite it; someone who fades into the background even when he’s alone. He works in the picture department of Life magazine, a once mighty publication that is now closing due to changing markets and passionless moneymen who can’t think outside a spreadsheet. There he fiddles about with negatives and goes unnoticed, even by the one person he’d care to pay attention, newly single accounts worker Cheryl (Kristen Wiig). But all that is just the outside. Inside Walter is a world of adventure and amazement. In his daydreams he’s the hero who leaps into a burning building to rescue a helpless dog; the brave mountaineer who marches to claim the girl; a warrior who battles bad guys on skyscrapers. Though all anyone else sees is a fortysomething man, staring into nothing. This is the story of turning his inside out.

This version of Walter Mitty is, like the 1947 Danny Kaye film, an adaptation of James Thurber’s 1939 short story, in so far as any feature-length movie can be an adaptation of a story with fewer than 2,000 words. Both take the premise of a man who escapes his own drabness with flights of fancy, and the fact someone else had the original idea should steal no credit from screenwriter Steve Conrad, who has built a plot on a single brick from Thurber. Thurber’s version of Mitty, who has settled for moments of daydreaming in a mundane life, is just the first 20 minutes. The rest, in which Mitty decides daydreaming is not enough, is all invented, and very well.

Mitty is a huge step for Ben Stiller as director. Playing the title character he is quiet and touching, devoid of his signature fits of anger, but he’s always been a talented actor. Compared to the other men who were, at various times, in the waiting room to play the title character — Jim Carrey, Mike Myers, Will Ferrell, Sacha Baron Cohen — Stiller is more naturally low-key, less of a show-off. It’s tough to imagine Baron Cohen or Myers doing the underplaying necessary for someone who’s the straight man in every encounter. Fine as he is in front of the camera, Stiller’s never been nearly this impressive behind it. His previous films, particularly the last three — The Cable Guy, Zoolander, Tropic Thunder — have a confident, if sometimes indulgent, comic structure and a large amount of cynicism. They would laugh at things — at the vacuous fashion industry or the self-important film industry — which is a fruitful position for comedy, because it risks very little, but here he’s sincere. Sincerity is difficult in modern cinema. If a single speck of falseness is evident then all deflates into schmaltz, and if you’re sincere without a hint of humour, everyone will go home bored and lectured. The Secret Life Of Walter Mitty is funny but not a comedy. Its laughs mostly come from the oddness of situations rather than jokes. Stiller clearly wants his audience to leave thinking and lifted, but not hectored. He’s striving for inspirational, and if you miss that by the smallest margin then you’re left looking hokey. You want to be a Jimmy Stewart movie, not a Robin Williams movie.

The reason it works is because Stiller keeps his eye on what Walter is after. The journey is huge but the goal is small; it won’t change the world, just his own. Walter’s path to a more interesting life begins when he sets himself a quest to track down a negative, sent to him by a reclusive photographer (Sean Penn, with a macho twinkle and magnificent hair) as “the quintessence of Life” and the perfect image for the magazine’s final cover. It’s lost before it even arrives. As the voyage grows, the play with fantasy changes. Early on, Walter’s daydreams will literally crash through into reality, such as in the beautiful moment when he, as a mountain climber, cracks through an office wall to romance Cheryl. But as the story develops and Walter begins an expedition to Greenland the fantasy becomes less heightened, until Walter’s own life becomes magic enough. The melding of imagined and real is done gently, without recourse to any ‘maybe it’s all in his head’ copping out. Stiller is, evidently, at heart just a big romantic.

There are times that he appears nervous about his ability to carry off a Big Film and he scuttles to comfortable ground, falling back on a cheap laugh. A Benjamin Button sequence could have come straight out of Tropic Thunder and its goofiness, while funny, sits clumsily. But Stiller has it. He’s up to the task. This is an intense workout for a director. There are action sequences (in the air, in the water and involving superpowers), there is romantic comedy, there is a touch of The Apartment-style corporate drama, there is a volcanic explosion and a bit with a shark. There’s a brilliant shot telling the history of a magazine with just a dash down a hall (it must be said that Stuart Dryburgh’s cinematography is wondrous throughout), and some ingenious use of text. It’s all very ‘look what I can do, Ma’, but comes off not as showing off so much as having fun playing. It would be no surprise if he now finds himself on the director shortlist for just about any big project looking for a steady hand.

Necessarily, though, it is not just a series of set-pieces; Stiller’s found a grasp on emotion he hasn’t shown before and a view on the world (a bit exasperated at the generation that photographs everything but looks at nothing). The most striking scene in the film is just two men, sitting on a ledge, watching the world and letting a moment disappear. The whimsy, gorgeous as it is, is all bonded together by the simplicity of a man who for all the wonders he sees, both inside and outside his own head, is just looking for a bit of reality that is his.

As a director, this feels like Stiller’s moment. Mitty is a film that bravely rejects cynicism. In many ways, it’s the new Forrest Gump. Go with it and it is, in all senses, wonderful.
 


Some movies seem born to inspire video games. All they lack is controllers and a scoring system. “How to Train Your Dragon” plays more like a game born to inspire a movie. It devotes a great deal of time to aerial battles between tamed dragons and evil ones, and not much to character or story development. But it’s bright, good-looking and has high energy. Kids above the easily scared age will probably like the movie the younger they are.

This is another action animation with an improbable young hero, based on a series of popular children’s books. Remember when the heroes in this genre were teenagers? Now it’s usually some kid who is 10 at the most, revealing himself as stronger, wiser and braver than older people, and a quick learner when it comes to discovering or mastering a new form of warfare. We are born knowing how to command dragons and spaceships and down we forget as up we grow.

Our hero is Hiccup Horrendous Haddock III (the voice of Jay Baruchel), a young Viking who lives in Berk, a mountainside village surrounded by the crags and aeries where hostile dragons live. Hiccup tells us that his village is very old, but all of the houses are new. An alarming omen. Led by his father Stoick (Gerard Butler) and the dragon master Cobber (Craig Ferguson), the villagers have been in combat with the dragons since time immemorial. It would seem to be an unequal struggle; the dragons are enormous and breathe fire, and the Vikings, while muscular, have only clubs, swords and spears. They may however be smarter than the dragons, although you wouldn’t know that just by listening to them.

Butler seems to be channeling his character from “300,” beefed up by many a hearty Viking feast. He joins Ferguson and others in speaking English with a muscular Scottish accent, since as we all know that English was widely used among the Vikings. In appearance, the Vikings seem victims of a testosterone outbreak causing enormous sprouty growths of hair. Even the hair from their nostrils might knit up into a nice little sock. Oh, how I tried not to, but as I watched these brawlers saddled up on great flying lizards, I kept thinking, “Asterix meets Avatar.”

The plot: Young Hiccup is ordered to stay inside during a dragon attack. But the plucky lad seizes a cannon, blasts away at the enemy and apparently wings one. Venturing into the forest to track his prey, he finds a wounded little dragon about his age, already chained up. He releases it, they bond, and he discovers that dragons can be perfectly nice. With his new friend Toothless, he returns to the village, and an alliance is formed with good dragons against the bad dragons, who are snarly holdouts and grotesquely ugly.

One evil beast is covered all over with giant warlike knobs, and has six eyes, three on either side, like a classic Buick. In one scene, a Viking hammers on an eyeball with his club. Not very appetizing. The battle ends as all battles must, with the bad guys routed and the youngest hero saving the day. The aerial battle scenes are storyboarded like a World War I dogfight, with swoops, climbs and narrowly missed collisions with craggy peaks and other dragons. For my taste, these went on way too long, but then I must teach myself that I do not have a 6-year-old’s taste.


The story told by “How to Train Your Dragon” — the new 3-D feature from DreamWorks Animation — is a fairly standard one, exploring themes that are so familiar in the universe of all-ages cinema that they hardly need elaborating. The hero, a young Viking named Hiccup (voiced by Jay Baruchel), is a misfit adolescent who proves his mettle, pleases his hard-to-please father (Gerard Butler) and saves the world while learning important lessons and rattling off some wisecracks. Supporting characters include a spitfire love interest (America Ferrera), a gaggle of goofy friends (including the inevitable Jonah Hill and Christopher Mintz-Plasse), a crusty old mentor (Craig Ferguson) and a cute nonhuman sidekick.

In a lot of movies the sidekick would be a reason to stay away, but this one, a jet-black, cat-eyed dragon named Toothless, is one of the main attractions. Not that the rest of it is so terrible. “How to Train Your Dragon,” directed by Dean DeBlois and Chris Sanders and based on a popular children’s book by Cressida Cowell, is closer to the sweetness of “Kung Fu Panda” than the coarseness of the “Shrek” movies. Its borrowings from other movies are not egregious, and its kinship with everything from “Finding Nemo” to “Avatar” puts it in reasonably good big-budget, mass-entertainment company.

Like “Avatar” in particular, this movie is about a young man who betrays his warlike tribe and learns to love the enemy. But the deeper similarity is visual. The rocky promontories off the coast of Berk (Hiccup’s windswept native island) are a lot like the floating mountains of Pandora, and the various species of winged lizards capering in the skies above resemble the beasts ridden by Nav’i warriors in their battles against the sky people.

And the real distinction of “How to Train Your Dragon” — the reason it deserves to be seen in a theater with special glasses on, rather than slapped on the DVD player when the children are acting up — lies in those airborne sequences. Movies and aviation grew up together, and at least since William A. Wellman’s “Wings” won the first best-picture Oscar back in 1929, filmmakers have been obsessed with using the medium to capture the feeling of flight. When Hiccup first climbs on Toothless’s back and urges the dragon to take wing, the hearts of the audience soar with a primitive and durable delight. The techniques that enabled this feeling may be dauntingly complicated, but the feeling could not be simpler.

A different kind of simplicity works, to equally satisfying effect, in the scenes that refer most directly to the film’s title. When Hiccup first meets Toothless, a type of dragon especially feared by the Vikings of Berk, the animal is hurt and scared. His damaged tail prevents him from flying, and Hiccup outfits him with a brace and a prosthetic fin. But in the meantime, the young man, like Temple Grandin or Cesar Millan, intuitively decodes the animal’s behavioral patterns, debunking generations of Viking superstition about the bloodthirsty, aggressive nature of dragons.

 

The development of the bond between Hiccup and Toothless is conveyed virtually without dialogue, which suggests that DreamWorks Animation has absorbed a useful lesson from its rivals at Pixar. The last two Pixar movies in particular — “Wall-E” and “Up” — have re-established the importance of silence in animated entertainment. Because the medium allows such freedom to create expressive images, it often renders words superfluous. (The richness of the images here owes a lot to the participation of Roger Deakins, the supremely talented live-action cinematographer on movies including “No Country for Old Men” and “A Beautiful Mind,” who served as a visual consultant on “How to Train Your Dragon.”)

Music is always welcome, though, and John Powell’s score, while occasionally obvious and bombastic, is also subtle and sensitive when it needs to be. And what is true of the soundtrack applies to the movie a whole, which is a shrewd blend of conventional pop-culture pandering and exalted cinematic artistry.

At the beginning and the end, “How to Train Your Dragon” is noisy and action-packed in the usual way, attempting to justify the price of a ticket with eye-straining, ear-popping large-scale effects. Really, though, sitting through those assaults is a price worth paying for the tenderness, beauty and exhilaration that are the movie’s great strengths. The way the dragons look, the way they move, the way they catch the light, dissolve in the mist, somersault through the air and dive toward the ground — all of this is likely to make you forget the uninspired plot and the shopworn lessons, even as you are reminded of some of the basic, ecstatic reasons you go to the movies in the first place.

—By 

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