Video review: "How to Train Your Dragon: The Hidden World"

Though I know it will inspire some pushback, I’m prepared to dub the “How to Train Your Dragon” movies the GOAT animated franchise. (That’s Greatest OF All Time, in case you didn’t know.) And yes, I’m including the “Toy Story” flicks.

Especially when considered in companionship with its short films and television/streaming show, “Dragon” has been a decade-long experience that’s both exhilarating and emotionally sustaining. It’s wrapped around the friendship between a Viking boy and a dragon, both of them striving despite physical (and to a lesser extent, psychological) disabilities.

In this definitively final go-round, scrawny nerd Hiccup (voice by Jay Baruchel) has become the unquestioned chief of his village, comprised of hardy folk who used to be enemies of the dragons but became their friends and allies. As time has gone on, their little island has become a crowded refuge for the reptilian creatures.

This draws the attention of dragon hunters, chiefly Grimmel the Grisly (F. Murray Abraham), a sly fellow who uses chemistry and trickery to control and, eventually, exterminate the dragons. Hiccup and his people stumble across a plan to protect them -- but it involves permanently saying goodbye to them.

Familiar faces return, including Hiccup’s wingwoman/reluctant romantic interest, Astrid (America Ferrera); his mother, Valka (Cate Blanchett), herself a dragon master; Gobber (Craig Ferguson), the village blacksmith and wisest person; and Hiccup’s various sidekicks, ranging from obnoxious to nerdy.

In the most notable development, ebony night fury Toothless, though to be the last dragon of his kind, encounters a white female, setting up obvious parallels with his human counterpart.

Writer/director Dean Deblois, who’s helmed all three feature films, brings a comfortable mix of action and awe, building characters without sacrificing entertainment value. What a great ride it’s been.

Bonus features are excellent. They include a feature-length commentary track, an alternate opening, deleted scenes and a couple of animated shorts. There is also a full dozen documentary shorts, ranging on the animation process to looks at the mythology behind dragons.

Movie:




Extras:

Review: "How to Train Your Dragon: The Hidden World"

One of the hardest lessons in life to absorb is that everything has a beginning, a middle and an end -- especially the last part.

Knowing when to close the door on a thing is a test many of us fail, especially when it has been something that has brought joy and meaning to our life. A relationship, a job, a creative partnership -- often we hold on longer than we should, and thereby taint the last chapter of the journey.

The “How to Train Your Dragon” series has quietly been one of -- if not the -- finest animated franchises in cinematic history. It caps that stature by definitively wrapping things up with a satisfying finale that draws a closed circle on a saga about striving beyond our limitations.

Starting with the smart and sensitive 2010 movie based on the books by Cressida Cowell about a teen Viking who befriends the dragons that have been plaguing his village for generations, the “Dragon” tale has sprawled across three feature films, four short films and eight seasons of a TV series, first on Cartoon Network and then moving to Netflix.

All this, in less than a decade.

Film-to-television crossovers are often notoriously bad, but “Dragons: Race to the Edge” and its earlier incarnation was notable for actually expanding its world without diminishing it -- not to mention retaining almost the entire original voice cast, something virtually unprecedented.

My two sons literally grew up on “Dragon” stories. At first, young Hiccup (Jay Baruchel) was a scrawny, ostracized teen seen by most as a pale copy of his father, the mighty chieftain Stoick (Gerard Butler). In “How to Train Your Dragon: The Hidden World,” he’s a wiser, cagier -- though only slightly less scrawny -- leader who others look to for confidence.

He still often lacks it in himself. Fortunately, Astrid (America Ferrera), the fiercest warrior in the island village of Berk, is there to buck him and back him. She’s not ready to commit to marriage, though, despite the urging of the townsfolk. These include blacksmith/sage Gobber (Craig Ferguson) and Hiccup’s mother, Valka (Cate Blanchett).

If you watched the TV show, you know that Hiccup and his crew have been waging a running war with trappers looking to force the dragons into slavery. Their success, though, has left Berk literally teeming with reptilian fire-breathers from nook to cranny. Something’s got to give.

The villain this time around is Grimmel the Grisly (delightfully voiced by F. Murray Abraham), a cagey old dragon hunter who uses poison to snare and control dragons. He’s got a foursome of nasty acid-spewing deathgrippers at his beck and call.

Grimmel has his sights set on Toothless, the lone remaining night fury dragon who allied himself with Hiccup even though the boy crippled him with one of his many contraptions. Hiccup lost a leg in the first movie, so both use prosthetic devices and are codependent on each other in order to fly.

When a female white night fury is revealed -- quickly dubbed a “light fury” -- it offers the potential for some dragon romance, but also a threat to the status quo. To escape Grimmel and his ilk once and for all, Hiccup revolves to find the mythical waterfall at the end of the world his father talked about, a portal to the world where  all dragons supposedly come from.

“Hidden World” is a bit more action-centric than its two movie predecessors, with plenty of exciting mid-air battles, non-bloody melee and pyrotechnic conflagrations. But writer/director Dean DeBlois, who’s helmed all three films, makes plenty of time for contemplation and character-building.

I’m sorry to see the “How to Train Your Dragon” series go. What a ride it’s been. But I’m delighted the creators knew that it’s better to leave too early than too late.

Review: "How to Train Your Dragon 2"

A top-drawer piece of animated filmmaking, 2010’s “How to Train Your Dragon” was supremely entertaining for kids while also gently imparting life lessons about finding your identity and overcoming handicaps, both physical and spiritual. The sequel is essentially more of the same, not breaking a lot of new ground story-wise but satisfactorily bringing back the old gang for another whiz-bang go-round.

If it feels thematically lighter, that’s because it is. If it also seems zippier and more pure fun, that’s because it is.

Five years have passed on the Viking island of Berk since the chief’s awkward son, Hiccup (voice of Jay Baruchel), flipped the script and convinced the former dragon-fighters that the mighty reptiles were meant to be their companions and mounts, not their enemies. There’s peace and prosperity, virtually everyone has their own pet dragon, and Hiccup no longer feels like the outcast offspring of his mighty father, Stoick (Gerard Butler), who is determinedly duty- and muscle-bound.

No longer a gangly teen, Hiccup is more self-assured and settled. He’s even filled out a bit, though in Hiccup’s case that means progressing from painfully thin to merely scrawny.

His best buddy, Toothless, is a rare (so far unique) Night Fury dragon, sleek black death on the wing. Toothless lost part of his tail due to Hiccup’s experimental tinkering, which also fixed him up with a prosthetic replacement. Hiccup has applied those same skills to his own missing leg, injured during a battle against the huge dragon that was compelling its smaller ilk to constantly raid Berk.

Former competitor-turned-girlfriend Astrid is back, a warrior born. She’s sprightly voiced by America Ferrera, who also supplies a wickedly funny impression of Baruchel’s distinctive speech and mannerisms. Also returning is Gobber (Craig Ferguson), Stoick’s reliable right-hand man and best friend, and the crew of young cutup dragon riders, Jonah Hill and Christopher Mintz-Plasse among them.

Hiccup has been spending his time exploring the surrounding isles, and makes a few disturbing discoveries. Some dragon trappers (Kit Harington plays their leader) have been enslaving the winged creatures for a shadowy general named Drago Bloodfist (Djimon Hounsou), who is said to be building a dragon army and have his sights set on Berk.

Hiccup also encounters a mysterious dragon rider whose affinity with the beasts rivals his own; she (Cate Blanchett) turns out to have a painful past with a personal connection.

Dean DeBlois, who co-wrote and co-directed the first film with Chris Sanders (who departed to work on “The Croods”), takes over solo screenwriting and directing duties. The visuals really pop in this movie, from the slightly reflective nature of Toothless’ ebony scales to the nifty fiery sword gadget Hiccup created for his personal weapon. The flying scenes, in many ways the heart of the original film, are somehow even more exhilarating.

The culminating battle has a bit of a familiar ring, and I wish DeBlois & Co. could have come up with an existential threat that doesn’t feel so much like a retread. To some extent he’s trapped by the series of children’s books upon which these movies are based, though from what I understand it’s a fairly loose adaptation of Cressida Cowell’s novels.

Still, “How to Train Your Dragon 2” is first-rate moviemaking, a superior piece of entertainment sure to please parents just as much as their young’uns. A third film has been announced for 2016, and I for one am already counting the days.

Video review: "Robocop"

I’m not mortally offended by Hollywood wanting to remake one of the seminal movies of my youth, but did they have to be so tame about it? This mincing, PG-13-rated sci-fi action/drama feels like it’s had all its precious bodily fluids slurped out of it. The result is cool-looking but rather unexciting.

The story is familiar: in a dystopian near-future, noble Detroit cop Alex Murphy (Joel Kinnaman) is blown apart in the line of duty. He’s put back together as cyborg by a nefarious corporation that runs the police services, and is sold to the public as their savior. But there’s more to the story, with Michael Keaton playing the villain who cares more about maximizing revenues than actually improving lives.
The new look of Robocop is quite a sight, with black armor and a red eye slit. Though no one’s ever satisfactorily explained to me why they leave his lower face exposed.

Rounding out the cast are Abbie Cornish as Mrs. Murphy; Michael K. Williams as Murphy’s partner; Samuel L. Jackson as a demagogic TV yapper; Gary Oldman as a conflicted scientist; and Jackie Earle Haley as a mercenary stooge.

Murphy/Robocop comes across more as a video game avatar than an authentic tortured soul. And the over-the-top bloody violence so intrinsic to the 1987 movie are replaced with CGI-heavy eye candy.
The new “Robocop” isn’t a terrible flick. But it commits the one crime that the enduring memory of the original renders unforgiveable: it’s forgettable.

The movie comes with a decent enough mix of video extras. There are a handful of deleted scenes, schematics of Robocop and other Omnicorp creatures and hardware, and three making-of featurettes.

Movie:

Extras:

Review: "Robocop"

In 1987 I was a pimply teen slinging/sweeping popcorn in a movie theater when the boss asked me to help set up a stand-up promo for an upcoming film in the lobby. As we fit together the various cardboard pieces, the name and chrome-domed image of "Robocop" came into focus.

We couldn't stop laughing. It looked like the goofiest, dumbest thing we'd ever seen. The display continued to provoke titters and jokes the next few weeks. We'd walk past it in a herky-jerky manner, dubbing ourselves "Robo-usher."

Then we saw the movie.

The laughing stopped, and although we'd continue to imitate Robocop, it was now performed with reverence instead of mockery.

Director Paul Verhoeven's "Robocop" instantly became an iconic film for a number of reasons. There was the kitschy premise of a man-turned-android, plus of course some very hard-edged violence -- initially earning an X rating from the MPAA -- that ping-ponged between cartoonish and nauseating. There was the incredibly cynical, sardonic view of a near-future Detroit ruled by Machiavellian corporations and dimwitted media info-tainment.

But at the center was the surprisingly soulful journey of the main character, an everyman cop who gains superhero-esque powers but has to give up a huge chunk of his humanity in the process. We cheered Robocop, and we pitied him.

The new remake is thoroughly unnecessary, but that doesn't mean the effort can't yield a good movie, as we saw with the recent reboot of the Spider-man franchise. Director José Padilha, a veteran from Brazil, and rookie screenwriter Joshua Zetumer come up with a promising premise, in which Robocop isn't a cutting-edge breakthrough, but simply a backward-engineered commodity designed to make robot law enforcement palatable to a malleable American public.

In the rest of the world, robots manufactured by Omnicorp run a martial state where even Iran is kept in line by scary machines, including the gargantuan ED-209s from the last film, as well as man-sized EM-208s. But politicians in the U.S. have barred them from policing domestically, resulting in $600 billion annually in lost revenues for CEO Raymond Sellars (Michael Keaton).

The first hour or so is heady stuff, as Detroit detective Alex Murphy (Joel Kinnaman) sees his life turned upside down after an explosion leaves his body in tatters, and comes to grips with the idea of living inside a metal suit. He's certainly got a cool new look, with black armor and a red slit for eyes. (Plus a pair of guns he never has to reload, ever.)

But the movie goes sideways in the second half, with neither the sarcastic humor or the PG-13 action scenes landing with a lot of punch.

Joel Kinnaman is believable as Murphy/Robocop, though he's a mite too pretty to be taken seriously as an anti-hero; the filmmakers repeatedly succumb to temptation to leave his face exposed. (Why exactly do they leave the lower half of his face unprotected?) Gary Oldman is a welcome presence as Dennett Norton, the conflicted scientist put in charge of the Robocop program.

Another thing lacking in the new movie is a hiss-able villain on the order of Clarence Bodicker, the sadistic killer from the original film. Keaton's Sellars is more slimy than hateful, a disreputable Steve Jobs type who likes to control the media. Jackie Earle Haley shows up as Robocop's taunting instructor, but he's a little too mercenary to really get our dander up.

Michael K. Williams and Abbie Cornish are pretty much wasted as, respectively, Murphy's partner and wife, mostly standing on the sidelines and wondering where the man disappeared inside the machine.

Samuel L. Jackson fires surprising blanks as Pat Novack, a demagogic broadcaster who acts as Omnicorp's jingoistic cheerleader. I think the problem is the character is so close to the unhinged talking heads we see on cable news every night, he's too familiar to serve as a cautionary tale.

I don't hate the idea of Hollywood remaking one of the seminal movies from my formative years, but the result is too tame to justify its own existence. There is one jaw-dropping moment in the film that hints of darker, grander themes to come. But it's soon forgotten in a wave of video-game shootouts and one-liners recycled from 1987.

Review: "This Is the End"

What could have been a terribly tiresome joke turns out to be an extravagantly funny one. Young(ish) Hollywood stars playing themselves convene for a wild party at James Franco's house, which gets broken up by ... the Apocalypse.

Yeah, really: brimstone, demons, the whole bit. Needless to say, they aren't among those who ascend into heaven during The Rapture, which leaves these entitled stars feeling rather miffed. Things grow progressively worse, the food and water run low and they start turning on each other, with merrily over-the-top results.

I think what makes it a giddy romp instead of a giant sandwich of self-indulgence is that the versions of themselves played by the comedy stars are thoroughly unlikable and selfish. Each seems to be doing an amalgam of their various film roles, with all the negative characteristics played up.

It goes so far that they crack on each other for bad role choices or movies that underwhelmed. Seth Rogen, who co-directed and co-wrote the film with Evan Goldberg, gets a lot of abuse for the mush-brained "The Green Hornet" ... for which, of course, Rogen and Goldberg did the screenplay.

The bare-bones setup is that Seth is hosting his old friend Jay Baruchel in L.A. for a few days. Jay is estranged from Seth's new buddies, including Franco, Jonah Hill, Danny McBride and Craig Robinson. He gets strong-armed into attending a shindig at Franco's swank new Hollywood pad, it gets kinda awkward -- until death rains from the sky and holes open up in the earth.

Most of the guests and other celebrities get killed off rather quickly, including Mindy Kaling, Rihanna, Paul Rudd and Jason Segal. Michael Cera, playing an arrogant coked-up version of himself, meets an especially messy end.

The survivors spend the next days and weeks holed up in Franco's house (which somehow manages to retain electricity even as the rest of town is fried into a smoking cinder).

The humor is really, really raunchy, with a bend toward the scatological. The running thread is that the entire bunch is ruled by narcissism, even when it seems like they're playing buddy-buddy.

Jay is the lone voice of reason, suggesting they repent their sins and hope for salvation. But it's a hard sell with this bunch. Their facility with religious faith extends only as far as Franco comparing the Holy Trinity to Neapolitan ice cream.

Emma Watson has a wicked turn playing herself, who busts into the boys' house with an axe and can't wait to bust out again.

"This Is the End" is essentially a one-joke movie, but it's one these young show biz funnymen gleefully -- and skillfully -- play on themselves.

Review: "Cosmopolis"

A deeply unaffecting journey through a labyrinth of high finance and base humanity, "Cosmopolis" is a parable with no punch.

Based on the novel by Don DeLillo, unread by me, writer/director David Cronenberg has given us a highly stylized affair with a string of actors delivering long, rambling exchanges of dialogue with all the portentousness of a Shakespearean drama and all the coherence of a psychoanalysis session.

What is meant to be deadly serious is often quite silly, when it's not stultifyingly dull.

The action takes place largely inside a luxurious stretch limousine over the course of a single day. Eric Packer, a 28-year-old billionaire, decides he needs a haircut. This being New York City, getting there takes a very long time, additionally complicated by a visit by the President and a street funeral procession for a beloved rap artist.

Along the way Packer picks up and dispenses passengers, including underlings (Jay Baruchel, Samantha Morton, Emily Hampshire among them), his current mistress (Juliette Binoche) for an in-car romp, and his newly-married wife Elise (Sarah Gadon). They mostly talk about their finance schemes, including a risky bet against the Chinese yuan.

At one point Packer, who receives a physical exam from a doctor every single day, converses with a female employee while receiving a thorough prostate exam that leaves him quivering with ... something.

To these people, money is not just power but fodder for outwardly deep intellectual discussions about life, humanity and destiny. "Capital is intent," asserts one flunky, whose job title includes the word "theory," a moniker that suggests a visit from the SEC may be forthcoming.

"People eat and sleep in the shadow of what we do," another says, and he's got a better handle. Packer is like the Wizard of Oz, existing behind a carefully guarded veil that hides him from the 99 percent, who object not just to their lack but to the shameless way he exerts his surplus.

Certainly, Packer's trappings suggest the rarified world in which he lives. His limo puts the bridge of the U.S.S. Enterprise to shame, replete with glowing blue lights and computer screens -- even a bar stocked with booze and snacks, plus a convenient way to dispose of the resulting byproducts. At one point, he inquires about purchasing a famous chapel, ancient stone walls and all, and having it sequestered in his apartment.

There are mysterious references to The Complex, a shadowy group that seems to know about impending events before they actually happen, such as a spontaneous Occupy Wall Street-type uprising complete with people immolating themselves, or an important global finance minister being brutally attacked on live television.

How do they know these things? Is The Complex reading the very vibrations of the collective human unconscious to discern what lies in its soul? Or, more likely, is it just a bunch of apocalyptic-sounding mumbo-jumbo?

Torval (Kevin Durand), Packer's hulking chief of security, walks on foot outside the creeping limousine, occasionally poking his head in the window to pass on new threat calculations from The Complex.

Packer does eventually get out of his car, which only leads to stranger encounters. He tries repeatedly (and unsuccessfully) to entice his wife, who is practically a stranger to him, to have sex. We eventually meet the driver of the limo, and the barber. And the Pastry Assassin. (You'll see.) Things culminate with a potentially deadly confrontation with a deranged(?) man (Paul Giamatti) who claims to know everything there is to know about Packer.

The characters speak to each other in off-putting formal tones, like grad students debating in a philosophy seminar. "I know this" is an oft-repeated line, as if they were trying to pinpoint their place in the universe by demonstrating how much knowledge they possess, and how they wield it to crush or be crushed.

An ambitious disaster, "Cosmopolis" is a preening, pretentious mess of a movie. I know this.

1.5 stars out of four

Video review: "How to Train Your Dragon"

Don't get me wrong, "Toy Story 3" was terrific. But for my money, the best animated film so far in 2010 was "How to Train Your Dragon."

This marvelous computer-animation effort from DreamWorks combined exciting action sequences with slightly subversive humor, wrapped in a subtle life-lessons subtext about overcoming disability.

Jay Baruchel provides the voice of Hiccup, a wimpy teenage Viking who'd rather tinker with gizmos than fight the plague of dragons that constantly attack his village. But when your old man is the battle-scarred chieftain (Gerard Butler), your future is pretty much laid out for you.

Hiccup reluctantly enrolls in Dragon Training class, learning how to combat the various types of beasties breathing fire, spitting noxious gas and spewing lightning bolts. But his real education comes when he befriends a wounded dragon he dubs Toothless, and learns they're not the mindless killers his people have made them out to be.

Toothless has a maimed tail that won't allow him to fly without Hiccup's technology wizardry. And Gobber, the local blacksmith, is missing a leg and a hand. These and other story elements underscore the theme of celebrating our differences, without any of the usual pat smarminess.

Directed by Dean DuBlois and Chris Sanders, the same team behind "Lilo & Stitch," "Dragon" is the sort of smart, sassy kiddie flick that parents secretly slip into the video player after the children have gone to bed.

Extras range from measly to quite good, depending on which version you buy. The single-disc DVD comes with only a behind-the-scenes featurette with cast and crew.

The double DVD edition includes three deleted scenes, a message from author Cressida Crowell, and several games like a "Viking Personality Test," "Learn to Draw Toothless" and so forth.

On top of these features, the Blu-ray/DVD combo pack boasts a filmmakers' commentary track, a featurette on the artistry of dragons, pop-up trivia, and an interactive picture-in-picture feature with storyboards, video and interviews.

Plus, a new animated short: "Legend of the BoneKnapper Dragon."

"How to Train Your Dragon" hits video stories Friday, Oct. 15.

Movie: 3.5 stars out of four
Extras: 3.5 stars

Review: "The Sorcerer's Apprentice"

I know what you're thinking: A live-action feature film version of a sequence from a 70-year-old cartoon starring Mickey Mouse and a bunch of ensorcelled brooms?

With Nic Cage in glib blockbuster mode? Reteamed with "National Treasure" director Jon Turteltaub? And Jerry "boom baby" Bruckheimer producing?

It almost sounds like a practical joke. But don't forget Disney previously leveraged a kitschy theme park ride with cheesy animatronic pirates into a multi-billion-dollar franchise.

The good news is the resulting movie is anything but cynical. It's a goofy, silly thrill ride without a thought in its pretty little head.

The fun parts of "The Sorcerer's Apprentice" are really, really enjoyable. The parts that aren't fun really make you wish they would get back to the good stuff. The ratio of fun to not-so-fun isn't quite high enough for me to recommend the movie, but it's a lot better than first impressions might suggest.

Cage plays Balthazar Blake, an ancient sorcerer and one of three apprentices to the great Merlin, who was undone by his arch enemy Morgana (Alice Krige) with the help of Maxim Horvath (Alfred Molina), another of Merlin's pupils. Horvath went turncoat when his affections for the third apprentice, Veronica (Monica Bellucci), were rebuffed in favor of Balthazar.

In 740 A.D., Veronica trapped her soul along with Morgana's in the Grimhold, a prison inside a magic nesting doll. Over the years, Balthazar has imprisoned many of the evil Morganian magicians inside successive layers of the doll. He's spent the last millennium searching for the Prime Merlinian, the greatest sorcerer in history who will take up Merlin's dragon ring and put an end to Morgana forever.

Balthazar thinks he's found his candidate in Dave Stutler, a physics student with a severe confidence problem. Played by Jay Baruchel, Dave is a collection of tics and shrugs who can't even summon the courage to ask out his dream girl Becky (Teresa Palmer), let alone wield powerful magic in battle against evildoers.

Dave becomes a student to Balthazar, who teaches that science and magic are essentially the same thing, just focused by a sorcerer wearing a special ring. Dave's a screw-up at first, his spells fizzling or bouncing off the walls.

Turteltaub and his trio of screenwriters do include an homage to the animated sequence from "Fantasia," in which Dave zaps a bunch of mops into cleaning up his dank underground laboratory, with predictable results. You know it's coming, but I'm still glad the filmmakers included it.

Cage and Baruchel have a nice chemistry together, with Dave subtly mocking Balthazar's taste for long leather coats and pointy "old man" shoes. Dave's been told he's a loser his whole life, so when this strange guy pops out of nowhere and starts talking about him being mankind's savior, he can't quite swallow it.

Despite only a few days (apparently) of training, Dave soon turns into a half-decent sorcerer, and even gets Becky to notice him. Meanwhile, Horvath recruits his own sidekick, a Chris Angel-type magician/metrosexual who traded his meager sorcery skills for fame and fortune.

Everything builds toward a showdown with Horvath and the resurrected Morgana, who plan to raise an army of the undead, blanketing the land with evil, yada yada.

Was "The Sorcerer's Apprentice" necessary? No. The spell it casts over the audience is a silly one, but it doesn't totally fizzle.

2.5 stars out of four

Review: "How to Train Your Dragon"

Like "Kung Fu Panda," "How to Train Your Dragon" is a slickly-made computer-generated animated flick for kids that unexpectedly turns out to have a whole lot of soul.

Actually, I preferred "Dragon" over "Panda." Both movies are from the DreamWorks animation team, but this one borrowed a little old-school Disney magic.

The writing/directing duo of Dean DuBlois and Chris Sanders are veterans of hand-drawn animation who made the wonderful "Lilo & Stitch" for The Company That Walt Built back in 2002, then jumped ship to DreamWorks. "Dragon" milks similar themes about young outcasts learning to celebrate their differentness, with some slightly subversive humor mixed in.

In this case, Hiccup (voice by Jay Baruchel) is the wimpiest Viking who ever lived. While the rest of his clan are barrel-chested barbarians who live to fight the many dragons that plague the island of Berk, Hiccup is small and scrawny. He's better at tinkering with gadgets in the blacksmith shop than swinging an axe on the battlefield.

It doesn't help that his father is Stoick (a great Gerard Butler), the fearless leader who is mortified that his offspring is such an anti-Viking.

Gobber, the town blacksmith, clumsily tries to reassure the young man -- which leads to this hilarious twist on the trite old "be true to yourself" advice:

"It's not so much what you look like. It's what's inside that (Stoick) can't stand."

Determined to live up to the old man's standards, Hiccup enrolls in Dragon Training. Around the same time, he finds an injured dragon that he brought down using one of his gizmos. He tries to kill the ebony beast, but instead ends up befriending him and naming him Toothless.

So Hiccup spends his mornings learning to kill dragons, and his afternoons learning to fly on the back of one. It turns out the fire-breathing reptiles aren't the thoughtless killers the Vikings thought them to be.

Hiccup ends up learning all sorts of insider tricks about dragons that propel him to the top of his class -- much to the consternation of Astrid (America Ferrera), a fierce warrior and love-interest-turned-potential-enemy who resents being shown up on a daily basis.

I loved the look of "Dragon," where humans are depicted with exquisite realism, but with proportions just enough out of whack to give it a cartoony feel. The dragons, which come in dozens of varieties, are a delightful rainbow of horns, wings, snapping teeth and buggy eyes.

Actually, what the animation most reminded me of was that old "Dragon's Lair" video game. In 3D, it pops off the screen without any self-conscious look-at-me tricks.

The film is based on the book by Cressida Cowell, and screenwritten by Sanders and DuBlois (with an assist from Adam F. Golberg and Peter Tolan). It boasts plenty of pulse-racing action scenes, but the film's heart lies with characters and subtext.

For instance, I really admired the subtle way the theme of overcoming disabilities is woven into the story. Toothless has a malformed tail -- possibly injured when he was shot of the sky? -- and can't fly straight until Hiccup makes him a prosthetic aileron. And Gobber has a peg leg and an interchangeable hand that don't seem to slow him down a bit.

Fun and fresh, "How to Train Your Dragon" is one of the best films so far this young year, animated or otherwise.

3.5 stars