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Arts and Culture (Movie Reviews)

See this flick and you might wish you were dead

In the bowels of Basin City, there are no happy endings. So don’t look for any in these four stories of sex, death and violence.
    Barfly thug Marv (Mickey Rourke: Java Heat) hasn’t made a man bleed in days. It’s starting to get to him. As his impulse toward violence grows, he seeks an outlet to vent his rage.
    Gambler Johnny (Joseph Gordon-Levitt: Don Jon) is looking to make a score. Never having lost a game of chance, he buys into the richest card game in the city, playing police chiefs, senators and high rollers to take home millions.
    Private Eye Dwight (Josh Brolin: Guardians of the Galaxy) meets his long-lost love Ava (Eva Green: Penny Dreadful) at a bar. She promises love and fidelity if Dwight helps extract her from her marriage to the rich sadist for whom she left him.
    Stripper Nancy (Jessica Alba: The Spoils of Babylon) lost the love of her life because of the threats of a powerful senator (Powers Boothe: Nashville). Now an alcoholic with a tenuous grip on sanity, she vows revenge.
    Director Robert Rodriguez made the first Sin City film — adapted from Frank Miller’s popular graphic novels — in black and white so it looked ripped from the pages of a comic book. In this sequel, he seems to have forgotten what made the original a success. This sequel is so bad that it taints the memory of its predecessor.
    Despite graphic violence, near constant nudity and plenty of pulpy dramatic dialog, this movie is so dull that it could be used in a sleep study.
    The four story lines are smashed together rather than interwoven. The painterly quality so visually arresting in the first is replaced with shots of naked women framed as high art.
    Actors could save this one — were not most of them woefully inept or miscast. Jessica Alba continues to prove she’s one of the worst actresses working today. Gordon-Levitt’s slight frame is dwarfed in Miller’s world of hulking men.
    Only Rourke understands how to work with the pulpy dialog and plot. His Marv — who impressed in the first Sin City — is a sweet lunk who happens to be a dangerous psychotic. Rourke generates both sympathy and fear.
    With nothing but Mickey Rourke’s 20 minutes of screen time to recommend it, Sin City: A Dame to Kill For fails on three counts: film, action and cheap pornographic thrills.

Awful Action • R • 102 mins.

Grandpa, tell me about the good old days

    In the bygone era of 1980s’ movies, a hero’s worth was determined by the circumference of his biceps, the length of his cigars and the heft of his gun. It was a simple time of bloody shootouts, car chases and cheesy lines.
    Three decades later, these pumped-up monosyllabic heroes are well past their prime but determined to relive their glory days in the Expendables series. Most of the stars are too old for this stuff, but even action heroes have house payments. So every few years Sylvester Stallone (Grudge Match) writes a new Expendables script and trots out his buddies for a quick paycheck and a trip down memory lane.
    In the third geri-action installment, we follow Barney Ross (Stallone) and his mercenary team, the Expendables, on a seemingly routine interruption of an arms deal. The mission goes spectacularly wrong when Barney catches the arms dealer in the crosshairs. The dealer is Expendables’ co-founder Conrad Stonebanks (Mel Gibson: Machete Kills), who Barney believed he’d killed decades ago.
    Stonebanks catches Barney and the rest of the Expendables off guard, wounding them and making off with the money. Obsessed with killing Stonebanks and terrified that his aging mercenaries will die on the mission, Barney fires his team to seek a new, younger crew.
    Young audiences may miss the appeal of seeing wrinkled men mutter lame jokes, hit on women 20 years younger and beat each other bloody. But for audiences who grew up watching Cobra, Commando and Masters of the Universe, there is a certain nostalgic fun to these mindless action throwbacks.
    Filled with hokey lines, a ridiculous plot and low-budget action sequences, The Expendables 3 rises with its cast. Or falls, as Stallone’s new team of young pretty boys are pretty dull.
    When the veterans get their chance, each delivers. Stallone and Arnold Schwarzenegger (Sabotage) are old hands at charming their way through terrible material. Dolph Lundgren (SAF3) entertains by vacillating between imposing psychotic and goofy weirdo. Wesley Snipes (Gallowwalkers) proves that he still has a magnetic screen presence. Jason Statham (Homefront), who deserves so much better than this dreck, is the odd man out, too young to fit in with the old guard, too grizzled to join the boys.
    The only acting tragedy among the old guys is the villain. Gibson’s legal and PR troubles have made him an ideal bad guy for movies, but his wild-eyed performance shows that this once-great star has fallen.
    With a horrid plot, spotty acting and odd casting, The Expendables 3 is a bad movie. Yet I enjoyed it. Seeing these stars pick up their guns and get back to work is a little like touring Jurassic Park. There’s something magical about watching these dinosaurs in their natural element.


Fair Action • PG-13 • 126 mins.
 

An Indian family spices up French haute cuisine

     Kadam family life is built around food. In India, young Hassan learns how to taste and create unique flavors from his mother, an intuitive cook. When a riot leads to her death and the destruction of their restaurant, the family decides to try their luck in Europe.
    When the family car breaks down in a remote French village, Fearless Patriarch (Om Puri: Welcome Back) sees not tragedy but fate. He spends the family’s savings on a broken-down building that he deems perfect for an Indian restaurant. The family is confident that their gifted Hassan (Manish Dayal: California Scheming) can convert French villagers to Indian cuisine.
    Their enterprise stands only a hundred feet from a famed restaurant with a coveted Michelin star. Its proprietor, Madame Mallory (Helen Mirren: Red 2), doesn’t like competition.
    She bristles at the Kadam family’s music, gripes at their colorful decorations and sneers at what she deems “ethnic food.” Soon the Kadams and Mme. Mallory are locked in culinary war.
    The Hundred-Foot Journey is a cinematic meringue: Light, sweet and without much substance. That’s not necessarily a bad thing, but this serving doesn’t make for a very memorable cinema experience. Director Lasse Hallstrom (Safe Haven) has made a name directing fluffy romances and family dramas. This sweetly predictable fish-out-of-water tale stays close to what he knows. You know immediately how the story will end and which characters will be paired up before the credits roll. Issues like racism, death and classism are touched only briefly. This is a movie about pretty people making attractive food and finding equally comely life partners.
    On the plus side, Hallstrom’s cinematography is beyond compare. He lovingly captures the creamy peaks of a perfect hollandaise sauce and the bright colors of a chicken tikka, making food a sumptuous, nearly sensual, experience. A bag of popcorn and a soda will be a disappointment during this two hours of exotic, delectable cooking.
    Though there’s not much flavor to the story, actors work hard to imbue their characters with charm and charisma. Mirren does an excellent Maggie Smith impression as a stuffy patrician who learns to open her heart. Veteran Bollywood actor Puri gives dignity and kindness to what could be a horribly stereotypical role.
    The real find is Manish Dayal. His Hassan is naïve yet confident in his own abilities, a sympathetic character you hope succeeds.
Fair Drama/Great Cooking • PG • 122 mins.

 

How many losers does it take to save the universe?

The night Peter Quill’s mother died, he was abducted by aliens. Twenty years later, Peter (Chris Pratt: The LEGO Movie) remembers Earth by a troll doll and his mother’s Walkman. He travels the galaxy scavenging rare treasures from abandoned planets, listening to a mix tape of his mother’s favorite tunes.
    On a treasure run, he steals an orb from an abandoned building. Suddenly, he’s the target of a galaxy-wide manhunt. Turns out the orb will help the evil Ronan (Lee Pace: The Hobbit) exact revenge on the galaxy he blames for killing his warlord father.
    Quill is soon accosted by Gamora (Zoe Saldana: Rosemary’s Baby), an assassin working for Ronan. Gamora is in turn thwarted by two bounty hunters, a genetically modified raccoon named Rocket (Bradley Cooper: American Hustle) and a sentient tree creature Groot (Vin Diesel: Riddick), both also after the price on Quill’s head. This team of sworn enemies, petty thieves, disinterested third parties and psychotics are all that stand between Ronan and the galaxy’s destruction.
    Guardians of the Galaxy is a silly action movie with ridiculous characters, big budget explosions and a machine gun-shooting raccoon. It’s also the best time I’ve had at a movie all summer. Director James Gunn (Super), who co-wrote the script, creates a universe filled with witty heroes, slapstick humor, thrilling action and awe-inspiring visuals. In other words, he understands how to make a film based on a comic book.
    In his big-budget debut, Gunn isn’t overwhelmed. He manages to orchestrate high-paced action that packs emotional punch. But Gunn’s real accomplishment is the script, which imbues a jumble of clichés — like the bad-boy thief with a heart of gold — with credible personalities.
    Script and direction make a good framework for the actors to vitalize. Pratt has long supplied comic relief in film and television; Guardians of the Galaxy is the star turn he deserves. With granite-jawed good looks and a devilish smile, Pratt turns Quill into a Han Solo for the modern era. He’ll shoot first and betray comrades for a quick buck. But when the fate of the universe is on the line, Quill will do the right thing.
    As a tortured assassin looking for vengeance, Saldana is a tough, smart heroine with a tremendous sense of right and wrong. Think of her as the Black Widow — if Marvel gave her an independent storyline.
    Supporting the two leads are a crew of oddballs. It’s not surprising that a tree with eyes, a tattooed and stupid tough and a smart-mouthed raccoon provide comic relief. It is surprising that Gunn allows each character a moment of dignity that makes them emotionally powerful.
    Unlike The Avengers — a movie about special people learning to set their egos aside and work together to be even more fantastic as a unit — Guardians of the Galaxy is a film about what losers can do if given half a chance. Quill’s crew isn’t the brightest, the strongest or the fastest; in fact, we watch each of the members fail spectacularly a few times. But they figure it out in the end. It’s a powerful message for those of us who haven’t discovered how to craft an Iron Man suit.

Great Comic Movie • PG-13 • 121 mins.

The everyday banalities of saving the world

     Günter Bachmann (Philip Seymour Hoffman: Catching Fire) isn’t a man who stands out in a crowd. His shoulders hunch, pulling awkwardly at his ill-fitting jacket. His softening middle hangs over his pants, the product of poor diet and long days at a desk. His weary, weathered face reveals bright blue eyes often peering over the rim of a whiskey glass.
    Bachmann looks like hundreds of dissatisfied office workers who flood the bars of Hamburg. But he’s not. He’s the head of a small intelligence agency tasked with rooting out terror cells. Bachmann’s unremarkable appearance is exactly what makes him so good at his job.
    Bachmann’s current obsession is Dr. Faisal Abdullah (Homayoun Ershadi: Inja Iran), a wealthy Islamic philanthropist who may be funneling money to terrorists.
    When illegal Chechen immigrant Issa (Grigoriy Dobrygin: 4 Days in May), washes up on the shores of Hamburg, Bachmann sees his opportunity to break open a terror cell. Issa claims to be the heir to a Russian warlord’s massive fortune and a refugee from a Russian torture camp. He was also part of an extremist Islamic group. Bachmann is eager to see if Issa will use his new inheritance to help Abdullah fund a terror cell.
    Can Bachmann prove Abdullah is a dubious character? Is Issa a threat to Germany? What is the human cost of keeping a country safe?
    Based on a novel by John le Carré, A Most Wanted Man is much like the character of Bachmann: unremarkable, unless you’re paying attention. Director Anton Corbijn (The American) takes time to build the Hamburg environment. The offices are dingy, filled with papers and outdated technology. Dirty streets spill over from a heavily industrialized waterfront. Corbijn takes his time making the life of Hamburg teem in the streets.
    Because Corbijn spends so much time setting the scenes and developing his characters, he tears through plot at a breakneck speed. Like 2011’s Tinker, Tailor, Soldier, Spy, the movie is more rewarding to viewers familiar with the novel. If you don’t know the broad strokes of the plot and characters before buying a ticket, you’ll need to focus intently.
    As Bachmann, Hoffman is the quintessential le Carré hero. He’s cynical, drab and fiercely devoted to a country that allows him to do terrible things to save it.
    Hoffman is the center of a powerful cast that includes Willem Dafoe, Robin Wright and Daniel Brühl. The one weak spot in this impressive spy thriller is Rachel McAdams’ Annabel, whose German accent quakes when she has more than a few lines of dialog and who isn’t quite believable as a tough human rights attorney.
    If you’re looking for a classic spy drama with a feeling of realism, A Most Wanted Man won’t disappoint. See it to say goodbye to one of America’s finest actors in a performance that is worthy of his legacy.

Great Drama • R • 121 mins.

Is privacy possible in the Facebook Age?

     Jay (Jason Segel: How I Met Your Mother) and Annie (Cameron Diaz: The Other Woman) were insatiable. Their voracious sex life led to an unplanned pregnancy and marriage. Over a decade later, Jay and Annie still love each other, and they are flourishing professionally and personally, but their sex life has gone belly-up. Though both miss the intimacy, they can’t seem to find time for each other.
    Jay, who works at a radio station, has a complicated musical filing system that requires two iPads. For some reason, it also requires him to purchase new iPads every few months. He distributes his old ones to friends, family and occasionally business associates.
    Writer Annie’s popular blog on ­motherhood has attracted the attention of a huge corporation. They’d like her to be the face of their mommy blog, as long as she promises to keep the material wholesome. Thrilled at a chance to advance her career, which has stalled since the kids arrived, she plans to celebrate with a wild night of passion.
    Alas, Jay and Annie are no longer in synch. Things get awkward until Annie has a brilliant idea: Use Jay’s iPad to make a sex tape and spice up their DOA sex lives.
    Apparently, a camera lens is all you need to fix your marital ennui; the sex tape works like a charm. Happy to have reignited the spark, Annie tells Jay to delete the recording from the iPad. In post-coital bliss, Jay forgets and synchs his iPad to his computer. Now, thanks to the cloud and carelessness, Jay and Annie’s X-rated romp has been loaded onto all the iPads that Jay has given away.
    Can the couple retrieve them before their reputations are ruined? Or should they film a sequel?
    Rude, raunchy and ridiculous, Sex Tape is funny in spite of its plot. The misplaced sex tape has been done in sitcoms over the years, so the concept of a suburban couple terrified that their friends and family will find out that they have sex isn’t a new one. Still, the ease with which information is shared in the digital age could offer up some interesting problems for Annie and Jay.
    Director Jake Kasdan (Bad Teacher) isn’t interested in the implications of our media-obsessed culture. His interest is having Diaz flail and make funny faces while Segel flops from pratfall to pratfall. Nor is the crisis believable given what we know about the characters. It seems improbable that a guy who has cycled through at least six iPads in a year knows almost nothing about the cloud, which Segel’s Jay seems to think is a magical entity. There’s also a way to erase data remotely from synched iPads, but Segel and Diaz are too busy panicking to call tech support.
    Lazy plotting and lazier character development make Sex Tape a substandard film. That doesn’t mean it isn’t funny. Kasdan has stacked the deck with so many weird situations and outrageous lines that you’ll find something funny. Diaz and Segel are veteran comedians who can land a punch line out of sheer will. They are aided by supporting players who wring laughs out of the meager script. Rob Lowe, in particular, does some weird and wonderful work as Diaz’s seemingly conservative boss.
    Watching the movie is a bit like coming across your neighbor’s sex tape: You know you shouldn’t watch it and it probably won’t be that well-made, but that won’t necessarily stop you.

Fair Comedy • R • 94 mins.

Apes are as violent and stupid as humans in this sci-fi sequel

     It’s been a decade since chimpanzee Caesar (Andy Serkis: The Hobbit) freed the apes of San Francisco to seek sanctuary in the redwood forests across the bridge. Thanks to the animal testing Caesar and his crew endured, these apes are hyper-intelligent. They have hunting parties, schools for their young and their own form of Hammurabi’s code carved into their simian city. Their society prospers under the leadership of Caesar and his lieutenant Koba (Toby Kebbell: The Counselor).
    But the Alzheimer’s treatment drug that empowered Caesar and his fellow apes was toxic to humans. As Caeser and his subjects build their civilization high in the redwoods, humanity is wracked by the simian flu. Those who don’t succumb to the virus die in the riots and looting that follow.
    It’s been two years since any ape has encountered a human, and the simians are content that their former captors have slaughtered each other into extinction. So the apes are surprised when they come across humans wandering in their forest in search of a hydroelectric plant.
    Not as surprised as the humans, who panic and shoot one of the apes.
    Koba, who was scarred and abused by laboratory scientists, wants to murder the people. Caesar, who was raised by a loving scientist, believes that humans and apes can co-exist. In a show of mercy, he tells the humans to leave and never return.
    Shocked by talking apes, the humans skedaddle. But back in their survivors’ colony, they tell tales of loquacious simians. Surviving humanity divides into two camps: those who see the apes as possible allies in their quest to survive and those who want to destroy the monsters they blame for the outbreak of the simian flu.
    This reboot of the iconic sci-fi films has cleverly focused on the apes’ perspective, but it can’t escape poor plotting and ridiculous dialog. Ninety percent of the conflict could be solved if the characters (both ape and human) spent five minutes talking.
    Apes are powerful creatures who should be fearsome predators if gifted with extra brainpower. Instead, director Matt Reeves (Let Me In) films the simian equivalent of a Rambo movie, with Koba charging the human colony on horseback while firing two machine guns as fire blazes in the background. Reeves is attempting to make an iconic image, but what he creates is so ridiculous that some viewers snicker during the grand battle for the fate of the planet.
    With the ending forgone, Reeves must rely on the strength of his actors to give his audience reason to care. The apes — all created from live-action performances covered with computer-generated images — are a testament to technology and the actors behind it.
    Humans, however, lack even basic character development. They are divided into two groups: the violent bad guys who won’t listen and the wide-eyed good guys who blindly trust the apes.
    Though it features groundbreaking CGI and amazing leaps in motion-capture effects, Dawn of the Planet of the Apes is a collection of missed opportunities. Without plot-driven tension or compelling performances from the homo sapiens, the film drags. With people like this, it’s hard not to root for the apes.

Fair Science Fiction • PG-13 • 130 mins.

Apes are as violent and stupid as humans in this sci-fi sequel

     It’s been a decade since chimpanzee Caesar (Andy Serkis: The Hobbit) freed the apes of San Francisco to seek sanctuary in the redwood forests across the bridge. Thanks to the animal testing Caesar and his crew endured, these apes are hyper-intelligent. They have hunting parties, schools for their young and their own form of Hammurabi’s code carved into their simian city. Their society prospers under the leadership of Caesar and his lieutenant Koba (Toby Kebbell: The Counselor).
    But the Alzheimer’s treatment drug that empowered Caesar and his fellow apes was toxic to humans. As Caeser and his subjects build their civilization high in the redwoods, humanity is wracked by the simian flu. Those who don’t succumb to the virus die in the riots and looting that follow.
    It’s been two years since any ape has encountered a human, and the simians are content that their former captors have slaughtered each other into extinction. So the apes are surprised when they come across humans wandering in their forest in search of a hydroelectric plant.
    Not as surprised as the humans, who panic and shoot one of the apes.
    Koba, who was scarred and abused by laboratory scientists, wants to murder the people. Caesar, who was raised by a loving scientist, believes that humans and apes can co-exist. In a show of mercy, he tells the humans to leave and never return.
    Shocked by talking apes, the humans skedaddle. But back in their survivors’ colony, they tell tales of loquacious simians. Surviving humanity divides into two camps: those who see the apes as possible allies in their quest to survive and those who want to destroy the monsters they blame for the outbreak of the simian flu.
    This reboot of the iconic sci-fi films has cleverly focused on the apes’ perspective, but it can’t escape poor plotting and ridiculous dialog. Ninety percent of the conflict could be solved if the characters (both ape and human) spent five minutes talking.
    Apes are powerful creatures who should be fearsome predators if gifted with extra brainpower. Instead, director Matt Reeves (Let Me In) films the simian equivalent of a Rambo movie, with Koba charging the human colony on horseback while firing two machine guns as fire blazes in the background. Reeves is attempting to make an iconic image, but what he creates is so ridiculous that some viewers snicker during the grand battle for the fate of the planet.
    With the ending forgone, Reeves must rely on the strength of his actors to give his audience reason to care. The apes — all created from live-action performances covered with computer-generated images — are a testament to technology and the actors behind it.
    Humans, however, lack even basic character development. They are divided into two groups: the violent bad guys who won’t listen and the wide-eyed good guys who blindly trust the apes.
    Though it features groundbreaking CGI and amazing leaps in motion-capture effects, Dawn of the Planet of the Apes is a collection of missed opportunities. Without plot-driven tension or compelling performances from the homo sapiens, the film drags. With people like this, it’s hard not to root for the apes.

Fair Science Fiction • PG-13 • 130 mins.

Extinction is the right ending

After the altruistic Autobots defeated the evil Decepticons in the Battle of Chicago, the American government had enough of alien warfare. The military ended its alliance with the Autobots, and both Autobots and Decepticons were declared illegal immigrants.
    So you can bet that the junked semi-truck found by broke robotics inventor Cade Yeager (Mark Wahlberg: Lone Survivor) is more than it seems. In repair, he discovers that the wrecker is actually Optimus Prime, leader of the Autobots. Yeager plans to fix up the Transformer to sell to the government.
    The CIA, led by the nefarious Harold Attinger (Kelsey Grammer: Think Like a Man Too), is running a black op, hunting down Autobots and Decepticons. Military units rend the Transformers into scrap sold to tech company KIS. Led by CEO Joshua Joyce (Stanley Tucci: Muppets Most Wanted), KIS is attempting to reverse-engineer the Transformers into a fully automated American army.
    Key to the plan is the recovery of Optimus Prime. So Yeager’s discovery brings in blazing guns. As death threatens, Yeager realizes the government might not be on the right side of the law and helps Prime escape. Now fugitives, Yeager and his family help Prime rebuild the Autobots and fight a new alien threat.
    Can Yeager and his family survive? Will Americans ever learn that robots that look like cars are our friends? How many IQ points are you willing to waste on this flick?
    Tortuously long and completely incomprehensible, Transformers: Age of Extinction is an exercise in endurance. Director Michael Bay (Pain and Gain) has set the cinematic bar so low you’ll need a deep-sea probe to find it.
    Avoiding plot at every turn, Bay fills the film with explosions; confusing action sequences; low-angle shots; esteemed actors belittling their craft and career for a paycheck; and female characters with no agency and even fewer clothes. Impressively, Bay has managed to include a half-naked woman, product placement or an American flag in just about every sequence of this two-and-a-half-hour car commercial.
    To make bad worse, Bay has taken time out of the movie’s busy explosions schedule for the dullest family drama ever committed to film. Yeager doesn’t want his sexy daughter Tessa (Nicola Peltz: Bates Motel) to date because he feels he owns her body. When Tessa reveals a secret boyfriend, Yeager and the boy fight bitterly about who gets to tell her what to do.
    Mark Wahlberg has made a lucrative career vacillating between terrible and inoffensive performances. He seems at the mercy of his costars, who either elevate or expose him. When his costars are CGI hunks of metal and equally vapid humans, Wahlberg is lost. His skill extends to flexing his biceps and grimacing while shooting a gun.
    Veteran actors Tucci and Grammer add little. In campy performances that prove once and for all that acting is a job first, art form second, these actors debase themelves for paychecks.
    Transformers: Age of Extinction is the cinematic equivalent of a concussion: It’s difficult to stay awake, painful and you’ll feel slightly duller for a few hours if you survive the brain trauma.

Painful Action • PG-13 • 165 mins.

An animated lesson on the benefits of good pet ownership

It’s been five years since Hiccup (Jay Baruchel: Robocop) convinced the people of Berk that dragons were not the enemy. The Vikings have laid down their arms and picked up saddles, domesticating dragons and racing them for fun. Even Hiccup’s dragon-hating dad Stoick the Vast (Gerard Butler: Olympus has Fallen) has converted his dragon-killing armory into a custom dragon-saddle business.
    Peace has brought Stoick and Hiccup closer, but father and son still don’t understand one another. Stoick sees Hiccup’s skill with dragons as a sign that he’s ready to become the next chieftain of Berk. Hiccup is terrified of more responsibility, so he avoids his father for adventures with Toothless, his rare Night Fury dragon.
    While adventuring, Hiccup encounters a group of unscrupulous trappers who shoot dragons out of the sky and sell them to warlord Drago Bloodfist (Djimon Hounsou: Baggage Claim). Drago has found a way to bewilder dragons, gaining control of their minds as he builds an army to take over the world. Hiccup and mysterious dragon-rider Valka (Cate Blanchett: The Monuments Men) are the world’s only hope against Drago and his fire-breathing beasts.
    How to Train Your Dragon 2 is a story about the families we make and the families we earn. The sequel to the wildly popular How to Train Your Dragon, the film expands on the imaginative universe of the first movie but shrinks its heart. Second-time director Dean DeBlois offers great action sequences and soaring chases, but he does little with the characters we’ve come to know.
    Hiccup goes through the standard teen angst of movie characters between the ages of 10 and 25. His body has matured but not his character. He still spurns responsibility. That’s typical teen behavior, but odder is that a boy with raging hormones spends so much time away from his girlfriend. Hiccup’s true love seems to be Toothless, his constant adventuring companion.
    On its surface a film about familial ties, Dragon 2 is more deeply focused on the relationship between pet and person. Hiccup’s connections with his father and his extended family are barely explored, because he is never in the same room with them. There’s a great deal of talking about family and very little interaction.
    Late in the movie, Valka explains to Hiccup that there aren’t any bad dragons, just “good dragons forced to do bad things.” Hiccup learns this first-hand when Drago uses his dragon-controlling powers to force Toothless to betray his beloved master. It’s a crushing blow for fire-breathing beast and boy, and one of the more effectively poignant moments in the movie. Sadly, it’s quickly shoved to the side so that we can go through more dreck about family.
    Though the human dramatics often fall flat, DeBlois is a master of dragon emotion. He gives each dragon a distinct personality. The film works best when the dragons take center stage. They romp, soar, spit fire and act like dopey dogs when they’re with their humans. Who wouldn’t want a dragon for a pet? Seeing this movie will more likely inspire you to give your pet an extra cuddle than to call your parents.

Good Animation • PG • 102 mins.