Tag Archives: Toy Story 3

Megamind

by Callum Petch (Twitter: @CallumPetch)

This year, DreamWorks Animation celebrates its 20th anniversary.  To mark the occasion, Callum Petch is going through their entire animated canon, one film a week for the next 30 weeks, and giving them a full-on retrospective treatment.  Prior entries can be found here, should you desire.


megamind 221] Megamind (5th November 2010)

Budget: $130 million

Gross: $321,885,765

Rotten Tomatoes Score: 72%

2010 was a very successful year for feature-length animation.  Now, when one looks at the year in animated film and tries to determine how good of a year it was, they cannot just cast their eye in the direction of the Disney-DreamWorks-Pixar circle trust and judge it solely from there.  I mean, they can and it should factor in to a large percentage of that – they are the biggest animation companies in the Western world at the moment, after all – but the true indicator of just how successful a year it has been for animation comes from the efforts of other studios and how their works hold up qualitatively and financially which, for 2010, was rather well indeed.

In terms of the big three, DreamWorks put out three solid hits – How To Train Your Dragon, Shrek Forever After, Megamind (sort of, we’ll get to that) – two of which were creative and critical successes, whilst Disney properly kick-started their second renaissance with the financial smash of critical hit Tangled, and Pixar put out Toy Story 3 so I really don’t need to go into detail with that.  They carried the year very well, but there was activity outside of those.  My Dog Tulip was an indie darling that did decent box office numbers, Zack Snyder tried to make an ambitious and dark fantasy epic with Legend Of The Guardians: The Owls Of Ga’Hoole that did very well overseas, Alpha & Omega is a dog turd in a bucket made out of Xenomorph piss but made enough money to justify a direct-to-DVD series that’s still inexplicably going to this day.

Oh, yeah, and Despicable Me happened.

In fact, I’m gonna go ahead right now and state this for the record: as a fan of the Despicable Me series overall, I still don’t quite get why Despicable Me was the one that broke through into the mainstream public consciousness.  Every year, of the tens of animated films that get released into the wild by studios that aren’t part of that circle trust I previously mentioned, one breaks through into mainstream acceptance and becomes the next big franchise.  It’s a recent thing, and some years end up having that big film come from DreamWorks anyway, but it is a thing nonetheless – Cloudy With A Chance Of Meatballs in 2009, Despicable Me in 2010, Rango and Rio in 2011, Hotel Transylvania in 2012, The Croods in 2013 (because pretty much everything else was a sequel), and The Lego Movie in 2014.

Now, in fairness, Despicable Me is a good film – although I never found it to be great and vastly prefer the better paced, better structured, wackier, funnier, more surprisingly heartfelt and just plain better Despicable Me 2 – and I much prefer it being the breakout in a rather quiet year than f*cking Alpha & Omega, but I’ve never fully gotten why.  The first film is flawed – a lot of the non-physical gags don’t land, the heart isn’t quite earned, and many of the voice performances are just awful – and forgettable, yet it became the film that everybody went back to again and again and again.  My best guess is the same as my guess for why Madagascar became a hit: the funny comic relief side characters (Penguins in Madagascar, Minions in Despicable Me) and the collective belief that a sequel will fully realise the potential that is frequently hinted at but never quite reached.

Despicable Me, for those not in the know, follows an ineffectual supervillain who wishes to become the most evilest supervillain of them all, but has a change of heart and becomes a hero of sorts after he lets women into his personal life and discovers that, deep down, he actually has real feelings and cares about other people that are not his minions or his steadfastly loyal sidekick.  Megamind, for those not in the know, follows an ineffectual supervillain who wishes to become the most evilest supervillain of them all, but has a change of heart and becomes a hero of sorts after he lets a woman into his personal life and discovers that, deep down, he actually has real feelings and cares about other people that are not his minions or his steadfastly loyal sidekick.

Can you see why Megamind was doomed from the get-go?

Now, I am not saying that Megamind and Despicable Me ripped one another off.  Of course I’m not, animation lead times are hellish and whichever one of these films came out first would have had the advantage of not being seen as a rip-off of the other.  What I am saying, is that an uninformed public may end up seeing it that way and they’re unlikely to turn up for a second go-around if they look too similar to one another.  DreamWorks had gotten away with it before with Antz and Shark Tale, but both of those looked very distinct from the films they were going up against, Antz came first and Shark Tale was a year removed from Finding Nemo.  In a darkly funny way, being late to the punch and suffering for it, this is basically karma finally coming for DreamWorks Animation.

Like it or not, Despicable Me will have been at least partially responsible for the lower-than-average gross for Megamind.  It may not have been such a problem if Despicable Me wasn’t A Thing, but it was A Thing and it ended up being a breath of fresh air in the animated medium – I’m assuming, my guess being that it was an animated comedy with real heart and few pop culture references – and so Megamind ended up suffering in comparison in the public eye.  After all, here was a DreamWorks film.  The third in a year, no less!  It had been 9 years since the first Shrek and, since most of the animation medium had decided to poorly copy that film’s way of doing things, people were tired of the DreamWorks formula by this point.

The film opened OK, first place and $46 million is nothing to sniff at, but was still somewhat below par for a DreamWorks film with 3D bells and whistles – especially since 66% of its opening weekend came from 3D showings at the height of the 3D craze.  It held well in weekend no. 2, only slipping 37% and beating off Unstoppable which was a real movie that existed and not some kind of amazingly stupid fever dream we collectively had, but any hopes of a long run on the chart were collectively dashed by four words that sent the entire box office sprinting for cover: Deathly Hallows, Part 1.  The combination of that opening in Week 3 and Disney’s Tangled opening in Week 4 signalled a very swift end to Megamind’s domestic box office fortunes; it dropped out after Week 6.

Considering that one-two punch, one would wonder why DreamWorks didn’t simply push the release date forward a bit, perhaps into October.  Problem is, DreamWorks were very much in a “damned if we do, damned if we don’t” situation with Megamind.  Too early and Despicable Me would be too fresh in the audience’s minds and that would harm Megamind’s box office even more.  Too late and they’d have to push it into January/February of 2011, the cinematic dead zone and creating the problem of having three films coming out in relatively close proximity to one another in 2011; essentially postponing the burnout problem another 12 months.  Plus, in October, a very large number of 3D screens were taken by Jackass 3D and Katzenberg’s very public uproar over the competition foisted upon How To Train Your Dragon back in March probably convinced him to keep schtum this time.

So it didn’t do particularly great in the US.  Problem is that overseas grosses weren’t particularly great, either.  DreamWorks films that don’t do great financially domestically typically, not always but typically, make up for that with very strong overseas sales – Penguins Of Madagascar has crashed and burned domestically (it won’t even cross $80 million by the time it finally closes) but is at least trying to force its way into profitability with a slow but strong overseas performance.  Megamind, for whatever reason, never managed to do that.  Therefore, the film, although not a bomb, is one of the lower grossing entries into the more recent DreamWorks canon – although that bar keeps getting lowered/raised with each passing entry, to be frank.

Despicable Me is certainly one reason, three DreamWorks films in one year is definitely another (I have talked before about the DreamWorks release plan so I won’t repeat myself), and the fact that it looked very much like The DreamWorks Movie certainly didn’t help matters.  In fact, after having viewed the film and tweeted out how I prefer it to Despicable Me 1 – like you’re surprised, if you’ve followed this series or any of my writings on this site, you saw this coming – a friend of mine replied with surprise at my position as they found it to be “the most DreamWorks-ass movie they’ve ever made.”  And I am inclined to agree with that statement, name a DreamWorks Animation trope – pop culture references, expensive sounding licensed soundtrack, characters that resemble their voice actors more than a little too much, a Dance Party Ending – and it probably shows up here at some point.

But, crucially, Megamind also perfectly encapsulates just how far DreamWorks Animation had come since their commonly accepted dark age.  See, Megamind has a fair bit going on in it.  The DreamWorks of old would have taken its superhero parody premise, filled in the blank spaces with the bare minimum of character work and pop culture references, and then called it a day.  Megamind instead fills its blanks with the bare minimum of pop culture references – the bigger ones being relevant to the genre the film is occasionally parodying and therefore making sense – a very good amount of character work, a surprising amount of heart, and a vicious and relevant deconstruction of the Dogged Yet Determined Nice Guy trope.  It’s not original, Christ no, but it is highly entertaining and, as I have said before, films don’t have to be original to be great.

Now, I am going to be frank, a part of me did sigh dejectedly when Roxie ended up not being the one who gets forcibly injected with the hero serum – after all, DreamWorks have a (previously discussed) female problem and, if this was pulled off well (because it could also have gone so horribly wrong), giving Roxie powers and making her Megamind’s self-created nemesis would have provided so many potentially brilliant plotlines.  However, the serum going to Hal allows Megamind to touch on its best theme: loudly telling young boys that they are entitled to jack sh*t when it comes to women.

What do the movies typically teach us?  The hero gets the girl.  The good guy gets the girl.  The dogged nice guy is rewarded for his patience and persistence by getting the girl.  If your soulmate is currently with the wrong guy, a lunky meathead who is cool and awesome whilst you’re a sad lonely nerd, she will eventually realise that it should have been you all along and will come around if you just don’t stop trying to convince her.  This is why “friendzoning” is a thing.  We are very much a culture of entitlement, men are entitled to their dream girl and the guy that gets in the way of that is a horrible jock asshole and any girl who rejects you just doesn’t realise how special you are, despite just how f*cking abhorrent that entire philosophy is, and it’s why tragic events like the Isla Vita massacre end up happening.

So Megamind gets across just how non-OK that is by making Hal the villain.  Without powers, his constant hitting on Roxie even long after she has made it quite clear that she is not interested is an annoyance and creepy, but not especially threatening since he can’t do anything about it.  With powers, his entitlement overtakes his being and he now has the means with which to actually lash out at the world when everything he has been promised isn’t dropped into his lap.  Roxie is in love with Bernard – or, at least, who she thinks is Bernard, we’ll get back to that in a minute – and Hal suddenly sprouting powers and pecs does not cause her libido to suddenly gain feelings for him.  She wasn’t interested in him before because he was rather creepy and overly forward and unable to let the crush go, and she’s not interested in him now since all the powers have done is give him the strength to act on those creepy and overly forward impulses.  Her rejection is what spurs him to turn evil, but it’s clear that he would have gone this way at some point regardless of how things turned out with Roxie.

To put it another way: a big message of a big expensive animated kids’ movie aimed at young boys is “No means no.  Always.  No exceptions.  You aren’t entitled to sh*t.”  Ain’t that something rather amazing?

This all being said, Megamind does very much risk undercutting this message in three ways.  1] There are quite a few times, pre-powers, where Hal’s creepy hitting on Roxie is played more for laughs than “this is not OK”-ness.  I’m not 100% certain about this, because I’m not sure how much I’m projecting my own beliefs onto this movie and how much is the film mashing that “not OK” button (all of its prior attempts at getting jokes from that fall flat for me, you see, so I’m not certain how much of the film is properly playing it for laughs), but it’s there nonetheless.  2] The finale still ends with Megamind himself having won Roxie after proving himself to be a nice guy hero deep down, although that problem is somewhat nipped by a large chunk of the movie being devoted to showing the two of them mutually falling in love with each other.  Mind, that also brings us to…

…3] much of that romance occurs with Megamind tricking Roxie into believing that he is somebody else, with him taking the form of Bernard.  No matter how real and genuinely touching the rest of their relationship is built on, there’s still the issue of the fact that Megamind built much of his relationship with Roxie on a lie.  A lie that he is rewarded for, even after the jig is revealed and Roxie reacts understandably betrayed and angry, by getting the girl after rescuing her from Hal/Titan.  Now, this whole plotline and development isn’t exactly something made up specifically for Megamind, the film is a parody of comic books and superheroes and this kind of thing crops up there too (I’m assuming) so it carries problematic undertones anywhere (see also: any plotline that involves love potions of any kind), but those uncomfortable undertones still sit there regardless.

Yet, I honestly don’t find them a film-killer, like they should be, and I put that all down to the film’s incredibly strong character work.  The relationship between Megamind and Roxie feels very real, very honest, very spontaneous.  Although the film makes it somewhat clear from the outset that the two are going to end up together – this is a film, after all, apparently only Hayao Miyazaki understands that the lead man and the lead woman don’t need to get together by the rolling of the end credits – this isn’t apparent to the characters.  Megamind doesn’t kidnap Roxie at the outset because he has secret deep-down feelings for her, the film repeatedly makes it very clear that he’s only doing that because that’s what villains are supposed to do and he views her as somewhat of an annoyance – crucially, the film itself doesn’t, which is why she’s a very entertaining and interesting character despite being shunted into the two roles that women are apparently supposed to play in blockbuster action films.

The first time Megamind properly hangs out with Roxie, as in not keeping himself from being discovered by her, it’s not even in a romantic context.  Or, at least, an openly romantic one.  It starts very much as a position of his enjoying her company and wishing to spend more time with her, and his not realising that the true extent of his affections for her being love until later.  Vice versa for Roxie, it’s very much two friends slowly realising that they have a deeper bond than just being friends and it’s that naturalness and realness that’s able to transcend the somewhat… iffy details surrounding it.  For me, at least.  No, it doesn’t much help the film’s case that a good chunk of this is dealt with in one Electric Light Orchestra backed montage, but the relationship between the two is very much the centre and backbone of the movie and the execution of everything surrounding that is why it all still works.

See, Megamind’s arc feels natural.  It feels sincere.  He may seem like he’s deciding to become a hero because of the love of a woman, but the reality is that that’s only one part of it.  For one, he never really wanted to become a villain in the first place, society bullied him into it because school kids are the f*cking worst.  For two, there’s a good 10 to 15 minute stretch where the film loudly announces the fact that Megamind only got the fun out of the chase and actually finds the non-chase parts of villainy rather boring.  And for three, his first instinct when he sees Titan running off the rails is to try and shut down his creation before it gets further out of control, proving that he’s always had good inside of him somewhere.  The love of Roxie is a catalyst for that realisation of his change, but it’s not the sole reason and that’s why his arc feels genuine.  There’s more to it, it’s built up over time, and where he ends up personally when the film closes makes sense based on what the film has shown us about him earlier.  By contrast, Despicable Me’s shift in Gru’s character feels forced and ham-handed, arriving suddenly because the plot demands it and only really coming from the three girls – the only real foreshadowing coming from Gru not treating his Minions like garbage.

That’s why Megamind’s heart hits for me whilst Despicable Me’s does not, and why I prefer the former to the latter.  Megamind has issues – the ratio of good jokes to “ugh” jokes is slightly less one-sided than I’d like it to be, animation quality is alright but not outstanding, art style and character designs are honestly really generic, there are no real “Wow!” stand-out moments – but its heart is in the right place and its heart works gangbusters.  A joke machine is fine, but that means that a prolonged stretch of time where the jokes aren’t firing on all cylinders exposes the weaknesses in the rest of your film.  Megamind, however, has stuff going on under the surface – mostly stuff that has been done before, with the exception of that whole entitlement angle, but it’s all very well executed in any case – and its emotional centre always feels genuine which means it tugs my heartstrings more than Despicable Me 1 did.

Also, that moment just before the title card where the studio version of George Thorogood & The Destroyers’ “Bad To The Bone” seamlessly transitions into a glorious orchestral version of said tune is brilliant and makes up for every mediocre-to-bad usage of that song for at least the last decade.  What can I say?  I’m a simple man of simple pleasures.


Megamind was a somewhat successful film critically and financially, although not the runaway that How To Train Your Dragon (critically) and Shrek Forever After (financially) had been.  Of 2010’s DreamWorks Animation releases, it’s likely that the company regard it as the black sheep of the group, although the film does have its fans.  Their next film, the first of two for 2011, would cement the standing of their third big film franchise, wow the critics, kill the foreign box office, and baffle everybody when, much like with How To Train Your Dragon and its first instalment, it was passed over for the Best Animated Feature Oscar.  Next week, it’s Kung Fu Panda 2.

A new edition of DreamWorks! A Retrospective will be posted here every Monday at 1PM BST!

Callum Petch can taste the bright lights but he won’t get them for free.  Follow him on the Twitters (@CallumPetch)!

How To Train Your Dragon

by Callum Petch (Twitter: @CallumPetch)

This year, DreamWorks Animation celebrates its 20th anniversary.  To mark the occasion, Callum Petch is going through their entire animated canon, one film a week for the next 30 weeks, and giving them a full-on retrospective treatment.  Prior entries can be found here, should you desire.


how to train your dragon19] How To Train Your Dragon (26th March 2010)

Budget: $165 million

Gross: $494,878,759

Rotten Tomatoes Score: 98%

Let’s talk about Astrid.

Astrid, at the outset of How To Train Your Dragon, is a tough, no-nonsense dragon warrior in training.  She takes extreme pride in her chosen life path, wanting to become a great dragon slayer more than anything else.  She has no time for f*ck-ups, no time for the boys that are constantly hitting on her even though she keeps repeatedly making it clear that she is not interested, and to not take training seriously is to deeply insult her – the mere insinuation that her path in life is anything less than noble and desirable sending her into an understandable rage.

Therefore, Hiccup infuriates Astrid, openly so.  She has been training her entire life to kill dragons and takes every little bit of it seriously.  And in comes Hiccup, bumbling his way through training half-heartedly, making a joke out of her profession.  Then Hiccup inexplicably starts getting good; he starts getting really good.  Astrid’s pride can’t take it, there is simply no way that Hiccup, a clumsy fool who has openly stated that he cannot and does not want to kill a dragon, can suddenly become a master of dragons overnight.  Not when she has dedicated her whole life to being the best at this stuff, not now that she is suddenly number two to what appears to be a halfwit.

When she is passed over for the opportunity to kill a dragon, she decides to tail Hiccup and find out his secret.  There she discovers Toothless, the incredibly dangerous Nightfury dragon that Hiccup has seemingly tamed and has been getting his dragon info from.  Terrified, she runs off to warn the village, but Hiccup and Toothless kidnap her before she can in order to get assurances that she won’t spill the beans.  To help convince her, Hiccup has her fly with him on Toothless to discover just how peaceful dragons can be and how amazing riding them is.  It does the trick, Astrid is very much convinced.

In fact, she’s so convinced that she kisses Hiccup practically the second they get back down to the ground and becomes his girlfriend for the rest of the movie, despite having held him in pure contempt for the previous hour.

Does this sound familiar?  It should; this kind of character trajectory – from a strong young woman trying to earn respect in a man’s world and with absolutely no time for the awkward flirting of the lead protagonist, to someone who is suddenly stuck in the gravitational pull of the lead male’s penis (metaphorically) and is reduced to simply being The Girlfriend who needs rescuing in the finale – has been utilised by DreamWorks Animation before.  Remember Marina from Sinbad: Legend Of The Seven Seas?  And just like in that film, How To Train Your Dragon ends up taking a torch to its incredibly interesting female co-lead, with a whole bunch of potential distinctly female-focussed themes and narrative threads attached to her existence and character (although it’s annoyingly just left as subtext), for quite literally no good reason.

In an article posted on The Dissolve this past Summer, Tasha Robinson termed this kind of character trajectory as “Trinity Syndrome”, after the closest thing to a ur text in the shape of Trinity from The Matrix, and few things in movies annoy me more than it.  It gives off the impression that women are not important enough to have their own stories and narrative arcs unless they are inextricably tied to the whims of a man.  That ends up becoming even more infuriating when their plotlines are deep and detailed, yet are dropped like week old garbage the second the film decides that its time for them to suddenly be irresistibly attracted to the man’s genitalia (metaphorically).

Astrid is a character who has an incredibly interesting character and thematic arc, as previously detailed, and it very much seems to be building up to her swallowing her pride, recognising Hiccup’s way of doing things and growing to respect him as a fellow Viking.  Then, at the hour mark and quite literally out of nowhere, she falls hopelessly in love with Hiccup and, around that time, loses her competency in combat – her main character trait by that point – so that Hiccup can rescue her in the finale.  Much like with Sinbad, the film gains nothing from making Astrid The Girlfriend of Hiccup.  The film could have taken the romance part of the relationship out of it and lost nothing except a whole surplus load of problems.  It’s character derailment of the highest order and the only thing that even slightly redeems it is the early scene between the two in the sequel where proceedings are suitably adorable and cute.  That’s the sequel, however, so it’s still a problem in this film.

Specifically, in addition to ruining the character of Astrid, her sudden and inexplicable falling for Hiccup contributes to the film’s broken attempt at its message.  From the start of the film, How To Train Your Dragon loudly sets up a message of alternate masculinity.  Hiccup wants to be accepted in a very manly culture of walking badasses who practically reek of testosterone – including the women – but is physically incapable of being so because he’s physically weak and an altogether more peaceful guy stuck in a society that prides strength and violence above everything else.  From the very start of the film, the pieces are put in place for Hiccup to earn the respect and admiration of his father and the community in other ways, through inner strength and the ability to make peace with the dragons.  He will never be the guy who walks away from the explosion in slow motion, girlfriend in one arm, without looking back, but he can be masculine in other ways.

Yet his arc pays off by having him achieve acceptance in the way that the film’s society deems is the only way to be a true man: fighting and killing a dragon.  He even loses a leg in the process; truest sign of a man and a badass is when you have a war wound – direct quote from Astrid prior to training, “It’s only fun if you get a scar out of it.”  Sure, he’s riding a dragon and is only doing this in order to set the other dragons free and keep his dad from being killed, but it’s still very much a traditional way to wrap up his arc and makes the messages of the film – being true to one’s-self, what society deems to be masculine is not the only way to be a man, and that pacifism does not make you a coward or wuss – contradict events on screen.

How To Train Your Dragon 2 has this same problem, but works it into its overall narrative – the message of that film blatantly being that some people cannot be reasoned with and that, in those extreme situations, drastic steps have to be taken to keep things from spiralling further out of control.  The problem with How To Train Your Dragon is that the Alpha Dragon – the unreasonable thing that requires drastic steps to combat – is not worked into the message, so his existence and eventual combat feels like a sacrifice to big-budget filmmaking rather than a natural part of the film.  Yet, frustratingly, his existence is still inextricably linked to the film’s DNA – even though he contradicts the messages and feels superfluous, the film is still building up to a final showdown with Hiccup and Toothless against something big and nasty, so he can’t be ejected from the film.

So, Hiccup fits and slays a dragon; the biggest and baddest alive that also happens to be the reason why dragons keep raiding Berk and attacking and killing people.  He also demonstrates natural leadership, gets the girl of his dreams, rescues the girl of his dreams as The Strong Female Character cannot be allowed to be self-reliant in the finale, becomes accepted by the Viking society for actually totally being one of them deep down inside when the chips are down, and wins the respect of his father for basically doing what needed to be done.  There’s nothing particularly alternative or Hiccup about it, despite having Stoick state otherwise.  It’s like the film is at war with itself, between what it wants to be and what it needs to be – kinda fitting, in all honesty.

Yes, as you may have gathered, I don’t love How To Train Your Dragon.  I also don’t hate it, but I have many problems with it and I feel that, although it has many outstanding individual scenes, the whole doesn’t quite work.  Let it be said, however, that, despite how I may sometimes come off when talking about films, I was really trying to like it.  As a dog owner, the relationship between Hiccup and Toothless is the kind of pure, beautiful relationship between owner and pet that sends my heart all a-swelling; the film’s opening reel, where it sets up the intent of subverting typically accepted masculinity, had me all set to feel super “yay!” at the finale due to my personal relationships with masculinity; and, on the filmmaking side, the directors and co-writers are Chris Sanders and Dean DeBlois, previous of one of my favourite animated films of all-time in the shape of Lilo & Stitch.

Yet, both times that I’ve seen the film now – once prior to How To Train Your Dragon 2 because I learnt my lesson from February thank you kindly, once again for this series – it has left me cold overall, and I’m honestly not sure why.  I mean, those two issues I just spent extensive time going into are not exactly deal-breakers – broken Aesops are not major problems for me, and I’m a hardcore Disney fan so, although I am a feminist, I’m not going to write a film off totally for messing up its female characters (unless things switch over into an openly sexist, hateful misogynistic vibe, anyway) – and, as I think we’ve discovered throughout this series, I don’t have a bias against DreamWorks Animation and have loved and really like a good majority of their films.

But, try as I might, I can’t figure out why I feel no particular affinity to the whole of How To Train Your Dragon.  There’s just this thing, I don’t know what it is and I can’t describe it but I know it’s not in HTTYD, for me at least.  I mean, I’m rather alone on this.  It has the highest score on Rotten Tomatoes of any DreamWorks Animation film to date and that includes Aardman co-productions, it swept the 2010 Annie Awardsalbeit not without controversy – many people feel the film was snubbed when Toy Story 3 took the Best Animated Feature Oscar over it at that year’s Academy Awards, and, without fail, every single time I mention to somebody that this series and this film does pretty much nothing for me, they gasp in shock, assume I outright hate the film and demand an immediate explanation.  But I can’t.  I can tell them about Astrid and I can tell them about the walking contradiction known as the alpha dragon, but those are still not the reason why the overall film does nothing for me.  So, therefore, I can’t tell people why I’m rather indifferent on a lot of this film except for just knowing that I am.

It’s a real shame, too, because How To Train Your Dragon does a lot of things right.  Visually, the film is a delight, even if its ability to blow minds thanks to raw quality has been lessened somewhat by the sequel outdoing it in every regard.  DreamWorks, especially the Shrek series, have so far had a problem when it comes to animating and representing humans on screen – with them pretty much always falling into the Uncanny Valley and clashing badly with the rest of the film’s world.  HTTYD is the first to really break through that with strong distinctive character designs that are clearly more focussed on resembling ideas in artists’ heads than the famous celebrity voicing them.  Boarding and layout, meanwhile, take the arty heavily thought-out nature of Kung Fu Panda and runs with it, constructing gorgeous shots that make great usage of space and size.  (It likely doesn’t surprise you, incidentally, to find out that Roger Deakins was a visual consultant on the film.)

how to train your dragon

You could hang this shot in an art gallery and only arseholes would object to its conclusion.

Writing is mostly strong, excluding the prior mentioned issues and most things out of Snoutlout’s obnoxiously awful mouth.  It’s a film that maintains a serious tone for a large percentage of its runtime without being joyless.  It doesn’t force its humour, the dragon training kids are teenagers so it makes sense that they’d be obnoxious and silly, and many of the jokes work on a dramatic level too.  Stoick telling Hiccup that to become a true Viking he needs to stop being him, represented by gesturing to all of Hiccup, is funny because of how blunt he is and how incredulous Hiccup is about the whole thing, but it also works dramatically as Hiccup’s own father all but openly announces his contempt for his son to his face.

(Side Bar, whilst we’re on the subject: holy hell, do I find Stoick to be an incredibly irritating and unlikeable little sh*tbag in this film.  Despite the film’s best efforts, I don’t find him sympathetic at all in this film and it’s because the film pushes down so hard on the “contempt for his son” button.  His sympathetic side, including why he is especially vindictive towards dragons, is saved for the sequel so all we get here is miserable, angry, really unlikeable Stoick, with only very occasional hints of genuine love bursting through, so that part of the heart side of the film falls flat for me.  I also realise I’ve just undermined my “writing is mostly strong” point with this little digression, but I thought I’d talk about it briefly whilst it was still relevant.)

And then there is the relationship between Hiccup and Toothless.  When the film is firing on all cylinders, and it fires on all cylinders a fair bit despite the constant negativity I’ve been indulging in in this here article, it’s because of those two.  There’s a huge, giant beating heart powering all of their interactions and an incredibly sweet and natural development to their relationship.  The design of Toothless especially helps matters, balancing cute and cuddly and adorable with dangerous and wild for the appropriate situations; making him consistent whether he’s this dangerous mythical beast who is three seconds away from biting Hiccup’s face off, or this adorable cutie curling up next to his master after a successful test flight.

Their bond feels real and genuine as the film perfectly paces their relationship from predator and prey, to cautious friends, to life partners.  How To Train Your Dragon’s standout scene, the one that genuinely moved me to tears on first viewing because of its beauty, is the bit where Hiccup manages to tame Toothless and Toothless genuinely warms to Hiccup.  A sequence told almost entirely without words yet saying more than 75% of vastly inferior animated movies manage to say in their entire runtime.  It’s here where everything comes together – the strong writing, the brilliant character designs, the outstanding character animation, John Powell’s utterly sensational score, that giant beating heart – to create art.  It’s just so impeccably done and… you know what?  Just watch.

A close second is the test flight sequence, for pretty much all of the reasons listed about the prior scene and with the added pro of it being one of the best non-Miyazaki flight scenes I have ever seen in an animated movie.  Closely behind that there’s the sequence where Hiccup wakes up after the battle with the alpha dragon (officially known as Red Death, although I never once heard the film call it that), is re-united with Toothless and discovers his new prosthetic leg – Second Side Bar, real quick: although the path taken to get there and its overall thematic ramifications in this film is shoddy and rather unearned, I cannot deny that everything else this series has done, and hasn’t done, with the prosthetic leg is brilliant.

Yes, there is a point behind my devolving into referring to scenes without any real critical analysis to accompany them.  Again, I find How To Train Your Dragon to be a whole bunch of excellent scenes in a whole that never quite works, and those scenes are most emblematic of that fact.  They have that intangible something that, for me at least, the rest of the film doesn’t.  After all, pretty much every single one of those elements that I mentioned a second ago are working at that level for the whole film, and How To Train Your Dragon is never really bad – those negative marks I’ve mentioned are more things I find disagreeable than outright negative deal-breakers.  It just doesn’t work as a whole, for some reason, and that intangible thing that powers those three particular scenes to transcendental excellency doesn’t really show up outside of those scenes.

The problem of course being that, no matter how hard I try, I can’t figure out what that thing is.  And that fact is killing me!

So, as you may have gathered by now, it’s very easy to see why How To Train Your Dragon blew off many doors at the box office.  It had a really rather modest opening, $43 million which is way below par for DreamWorks films especially since it now had the bonus of 3D tickets, but it held.  It held extremely well over the following 10 weeks, even as DreamWorks’ own Shrek Forever After came along two months in to cannibalise long-term play.  Considering the fact that action-focussed animated films supposedly don’t hold well – a view more than likely enforced due to that turn-of-the-century animation problem we talked about many weeks back – the fact that it finished as the 9th highest grossing film domestically of 2010 is a damn near miracle.

Overseas gross ended up about equal with domestic gross, which is what kept the film from being a runaway hit and is decidedly underwhelming considering how DreamWorks normally do overseas, but I’m pretty sure that DreamWorks executives weren’t exactly crying over failures or what have you when the home media sales numbers started coming in.  Besides, the company made a tonne of money from the domestic dollar, which is mostly better for the studios than foreign dollars (once again, this article will explain everything).  How To Train Your Dragon today consists of two critically acclaimed and financially successful (sorta for the second one, depends how much you subscribe to Hollywood Accounting) feature films with a third on the way, a very successful TV series, four short films, multiple videogames, and an arena show adaptation that lasted about 10 minutes in America and Canada before it was uprooted to China instead.

And I get why this series is incredibly popular.  I really do, they are damn good films.  How To Train Your Dragon is a really damn good film!  I want to love it unconditionally like I do so many other animated films, like I do Chris Sanders & Dean DeBlois’ Lilo & Stitch, like I do with so many of DreamWorks’ other films that we’ve covered in this series.  But the film as a whole does nothing for me.  I don’t know why, but it just doesn’t, much like how I cannot get into Adventure Time to save my life.  And if you find that fact bewildering and maddening, know that I am right there with you.  I’m really glad that so many people love and get something out of the How To Train Your Dragon series, but they just do nothing for me and I just don’t know why.


Even though the company had been on a significant upswing in terms of quality in the two years prior to its release, pretty much nobody saw the sheer quality of How To Train Your Dragon coming.  DreamWorks would be rewarded for that pleasant surprise with an unparalleled amount of critical praise and a very healthy return at the box office.  The hot streak that the company was on, however, had to come to an end sooner or later and, two months later, the company unleashed the final Shrek film to date upon the world to (relatively, considering how much a juggernaut Shrek was supposed to be) middling box office success and critical shrugs of indifference.  Next week, we’ll tackle Shrek Forever After and see whether it was unfairly dismissed by critics based on the brand name or is yet another low-quality squirt for cash.

A new edition of DreamWorks! A Retrospective will be posted here every Monday at 1PM BST!

Callum Petch is caught up in love and he’s in ecstasy.  Follow him on the Twitters (@CallumPetch) and listen to Screen 1 on Hullfire Radio every Monday at 9PM BST (site link)!

Best Film on TV: Christmas Special

With a festive season packed full of brilliant films on TV, Owen picks the cream of the crop for you over Christmas Eve, Christmas Day itself and Boxing Day. Whilst it’s 4 days shorter than the usual Best Film on TV article, it’s practically bursting with quality movies, starting with….

manchurian-candidate1Christmas Eve –

The Manchurian Candidate (1962) (ITV4, 12.10) – A favourite of ITV’s as it seems to be on at least once a month recently, it doesn’t make it any less worthy of your time. Starring Laurence Harvey, Janet Leigh and ol’ Blue Eyes himself Frank Sinatra, this psychological thriller about a returning POW who’s been brainwashed by the commie Koreans is as nightmarish as it is absorbing.

It’s a Wonderful Life (Channel 4, 13.10) – Whilst the proposed sequel is still some way off development, it wouldn’t be Christmas if this wasn’t on TV now would it? Last year we actually outlined exactly why you should see this in James and Kate’s 12 Days of Christmas series.

Fantasia (BBC2, 16.15) – Believe it or not, this is actually the terrestrial premiere of Walt Disney’s Fantasia, despite the fact it was released some 73 years ago now. Blending classical music with spell-binding, magical animation, it’s sure to draw in a huge number of viewers young and old to marvel at the splendour of classic Disney.

Rare Exports: A Christmas Tale (Film4, 00.45) – Adapted into a feature film by Finnish director Jalmari Helander from his own short film, this is a Christmas film like very few others! As a horror-comedy about a young boy that discovers the real Santa, an evil child stealing monster, is trapped in the mountains of his home town, it quite obviously doesn’t take itself too seriously! You will either love or hate it. If you stay up to watch it, it could even be the first film you see on Christmas day!

Children of Men (ITV4, 01.05) – Not Christmassy at all. In fact, I don’t even like Children of Men. However, director Alfonso Cuarón’s Gravity made it into the top 10 of 2013 in the Sight and Sound list and was mostly enjoyed by our podcast team and by Carole, our roving reporter at the London Film Festival, so one of his earlier sci-fi films about a world where women have stopped giving birth may appeal to the cinephiles out there looking for something a little bleaker this Christmas.

theredshoes2Christmas Day –

The Red Shoes (BBC2, 08.50) – The best Powell & Pressburger film that I’ve seen, The Red Shoes is about a ballet.. but don’t let that put you off like it threatened to do to the uncultured swine that I am. It is truly excellent. The actual ballet scene itself is mesmerising. The hissing romance between its two superb lead performers, Moira Shearer and Marius Goring, stuns the film into one of the most enchanting and mesmerising I’ve ever seen. Atmospheric, beautiful, tense. amazing, spectacular, illuminating… I could go on!

Gone With The Wind (Five, 10.15) – The episodic structure to this epic Civil War southern romance story from 1939 starring Clark Gable and Vivien Leigh means you can quite easily dip in and out of it between your view getting blocked by nan standing in front of the tele and helping with the tidying up without really missing much. If you make it to the end in one sitting, complete with sitting through ad breaks, then frankly my dear, I’m proud of you.

Casablanca (Five, 14.35) – Another film I don’t care too much for but is hailed as a classic is Michael Curtiz’s Oscar winning war time political-romance drama Casablanca. Taking a look at the profile page for the film over on Letterboxd, only one reviewer has given it anything less than 5 stars; even they gave it 4.5 stars! That, my friends, is a rarity. I would wager it will be a while again before I see the likes of that. Maybe not today. Maybe not tomorrow.. ok I’ll drop the cheesy quote-jokes.

Toy Story 3 (BBC1, 15.20) – Whilst it has been argued that Pixar are on the decline as of late, it’s hard to beat watching one of their films on Christmas Day. BBC seem to have developed a tradition of showing their movies on the 25th December, and this year they have decided to air the eleventh highest grossing film of all time. Indeed it was even nominated for an Oscar in 2011! Financial and critical success might suggest Pixar are far from a spent force, but nothing they have released since the third instalment of their Toy Story franchise has come close to matching its achievements.

The Muppets Christmas Carol (Channel 4, 16.35) – As I’m yet to pick a proper Christmas family movie, taking a peak at the schedule, it’s got to be the Muppets Christmas Carol. I’m sure you don’t need me to tell you why you should be watching this. It’s plainly obvious.

Big Fish (Film4, 16.50) – Ewan McGregor plays the son of a dying father in this fantasy adventure film. I don’t tend to pick many Tim Burton films for these Best Film on TV articles, however I will make an exception for Big Fish as it’s the time of forgiving. It might just be the last good film he made.

Ghostbusters (5*, 16.55) – If Big Fish.. ain’t your thing.. what else should you watch? Ghostbusters!

Indiana Jones and the Temple of Doom (BBC3, 20.30) – Ah, good ol’ Indy. Reliable, entertaining Indy. Proper Christmas day evening adventure film Indy. If you, like many other incorrect people, consider Temple of Doom to be a bit shit, you could wait for The Last Crusade on Boxing day at 20.00… or even Kingdom of the Crystal Skull, which is on BBC1 at 18.05 on Friday.

Anchorman: The Legend of Ron Burgandy (BBC1, 00.40) – With the release of Anchorman 2 last week, the long awaited sequel, BBC1 are giving you the chance to go back and watch where it all started. Arguably Will Ferrell’s greatest comedy creation pits the out-dated news anchor against an up-and-coming female counterpart. If you’ve had a bit to drink, just realised the time, and can stomach staying up just another hour and a half, then this is the perfect tonic.

The Host (2006) (Film4, 01.30) – As per my review on the latest podcast, this South Korean creature-feature about a mutant creature from the Han River in Seoul is tons of fun. Grotesque and hilarious, with a great cast of people recognisable from lots of other Korean films, such as Kang-ho Song (the vampiric priest in Thirst, and also in Sympathy for Mr Vengeance), and Doona Bae (who was also in Sympathy for Mr Vengeance as well as one of the best films of the year in Cloud Atlas), it is rightly regarded as one of the country’s best.

BenHurBoxing Day –

Ben Hur (More4, 11.45) – It’s just not Christmas without Ben Hur. Sword and sandal epics are what Christmas TV needs; Ben Hur, Spartacus, Cleopatra, Jason and the Argonauts, etc. It’s the time of year where it’s acceptable to watch an hour or so of a 3+ hour long film before giving in and changing channel, yet still feeling proud of yourself. Hopefully you time it just right so that you tune in just as the chariot race scene begins.

Paths of Glory (ITV4, 12.05) – Stanley Kubrick is a favourite of the Failed Critics team, even being inducted into our illustrious Corridor of Praise this year. His anti-war film from 1957 may be rather more tame than his more famous war film, Full Metal Jacket, but it is still just as impressive. It pits Kirk Douglas as the commanding officer, defending a group of soldiers facing a court martial. It’s bold and powerful, arguably the best of Kubrick’s pre-Strangelove films.

Fantastic Mr Fox (More4, 18.10) – Wes Anderson can be an acquired taste for some, but his quirky stop-motion animation based on Roald Dahl’s children’s book is a great film to wind down to after a long and tiring day of unwrapping presents, cooking a massive dinner, and pretending to be pleased at your annual gift set of Dove for Men from Boots.

Sightseers (Film4, 21.00) – As far as road trip films go, Ben Wheatley’s sinister and darkly comic story of a young couple from Redditch, serial killing their way through a caravan holiday, is one of the best, most disturbing and hilarious of its kind. It even made it onto James’ top 10 of 2012 list last year. If that isn’t recommendation enough, then I don’t know what is.

Horror of Dracula (BBC2, 00.10) – Remember when you were young and these Hammer Horror films used to be on TV really late at night? Me neither. I’m too young for that. But my dad assures me this was the case. Dracula, starring Sir Christopher Lee as in the titular role and Peter Cushing as Van Helsing, is arguably one of their finest. Certainly one of their most iconic and justifiably so.