Us: Analysis, Themes, and Theories

Us is a pretty great sci-fi/horror film that’s worthy of the recent buzz.

Us is directed and written by Jordan Peele who wrote and directed 2017’s Get Out and stars Lupita N’yongo, Winston Duke, Elisabeth Moss, and Tim Heidecker. It tells the story of a family that goes on vacation to Santa Cruz, only to have their vacation cut short when they find a strange doppelganger family in their backyard, attempting to terrorize them and murder them. The film then turns into a story of survival as the family must escape Santa Cruz alive, while also stopping the doppelganger family from following them. I chose not to do a regular review for this one. My short recommendation for this movie is that you should at least see it at some point if you are interested. I think this film is super weird, fun, and suspenseful and it’s a great time at the movies. I will say, however, that I after I had the chance to view this film again, there were many issues I found throughout this film that seemed to negatively affect my experience the second time watching it. It wasn’t any issues with the film making really, I just found some plot holes and other inconsistencies with the film that didn’t make sense for me. In order to really discuss this film in full detail, I need to do an analysis instead. Not only because I wanted to talk about the themes of what this film has to offer, which does intrigue me, but also because I want to talk about the elements of this film that frustrated me and caused me to not enjoy it nearly as much the second time around.

SPOILERS AHEAD! DO NOT READ PAST THIS POINT IF YOU DO NOT WANT THE FILM SPOILED FOR YOU!

The film starts off as we see Lupita N’yongo’s character, Adelaide, as a young child at a fair at Santa Cruz in 1986. She is with her mother and father, and the father seems to be drunk and playing many carnival games. This clearly frustrates the mother as he is paying little to no attention to the daughter. But when the mother leaves to go to the bathroom and the father plays another carnival game, neglecting to keep an eye on his daughter, she wanders off to the beach below where she finds a hall of mirrors in which she comes across a version of herself who seemingly “traumatizes” her leaving her unable to speak. Years later, she’s grown up, had a family, and they suggest that they take a vacation to Santa Cruz every summer. In the film, we see she is nervous the entire time while there because she seems to remember an incident that scarred her for life at the beach. The film then cuts as the family is outside trying to get in so they can murder them. The version of Adelaide, Red, that seemed to traumatize her is now in front of her face again as she had predicted would happen.

Luckily, the family is able to escape their home, but when they try to go to their friends’ house for help, a family with a father played by Tim Heidecker and a mother played by Elizabeth Moss, they find that the doppelganger of their family has already murdered them, which leads them to more danger. They are able to escape but are stopped when Red captures Jason, their son, and takes him into the underground where they all reside. It is at this moment that we find out that Red explains that there is a whole society of people like her down below who mimic their actions from up above, but never get to go up there. In retaliation, she plans on killing everyone and starting their own society above ground. They also re-create the Hands Across America protest from the 1980’s to symbolize their new dominance over the country. If you don’t know, the Hands Across America event was one in which people all across the country joined hands with each other to make one big line across the entire country from the Pacific Ocean to the Atlantic Ocean in an effort to support the end of hunger in Africa. After Adelaide and Red fight each other, with Adelaide stabbing Red winning the fight, she leaves the underground with her son. We then see a flashback in which it turns out at the beach the day young Adelaide came across her young look a like self at the hall of mirrors, the doppelganger chokes Adelaide, damaging her vocal chords and forcing her underground. In other words, the Adelaide we have been following the whole time is actually the former doppelganger from below all along.

I love this film as it’s a fun, suspenseful horror flick with some great themes and satire.

This is a film that has so much strange elements to it that I cannot help but love and further recommend you check out. I’m really happy that we are able to get original ideas like this still out in theaters, and I’m glad that many people are actually coming out to support these flicks. I love the creativity that this film has to offer and I love that this film can create a concept and a universe that feels like it would be potentially terrifying to inhabit. I would personally be horrified if I found a doppelganger version of myself was trying to murder me. Since it is assumed they are a version of me, they think like me. Because of this, they know what traps I’ll fall for, what scares me, and what especially hurts me. A doppelganger of myself would truly f— me up! It’s a very strange yet brilliant concept that I’m surprised no other filmmaker has ever been able to put up on screen until this point, but I’m glad that this exists now. If you were to analyze its themes that is is clearly going for, it seems to be an allegory for class society and the way we treat and see others because of it. It can also be seen as an allegory for guilt and regret as Adelaide regrets having done what she did to her other self. If you need another interpretation, this could also be seen as an allegory for race relations in the US. Perhaps the people above are the elite race and the ones below are the minorities. This would make sense as Jordan Peele’s last film Get Out dealt with race relations and mocked individuals who would claim to fight for social justice rights for African Americans and Black Americans, but actually end up exploiting them for their victim-hood instead. Jordan Peele does a really great job with creating these horror stories with really great satire implemented into it.

I do have to admit that upon a second viewing, I found many inconsistencies within this movie, which is unfortunate.

There’s a ton of plot holes that come up when you decide to watch this movie again. It’s unfortunate to me to see these because there are instances that I know I shouldn’t be thinking about or acknowledging, but I just can’t help but ask these questions when I see these moments. There’s only going to be a few highlight ones that I acknowledged when watching this movie, but I know for a fact there’s plenty more if you want to examine the film even further. The first question I have with this movie comes at the beginning when Adelaide is nervous about being in Santa Cruz and going to the beach. This is apparently a vacation that they go on every year, as hinted several times throughout the film, so my question is did Adelaide ever get this way in previous years going on this trip? If that’s the case why do they keep coming back. They never acknowledge that she might have gotten this way in year’s past, it’s just a new thing that they realized now. And okay, even if she doesn’t get nervous while at Santa Cruz, do any of them know that she had a traumatic experience at Santa Cruz when she was younger? She doesn’t have to explain it in full detail, but did she ever suggest that she went through a troubling event growing up? And I know a potential defense for that is “she just gets that way when she hears they’re going to the beach” which is fine, but what else do they do there then? I know this seems really nitpicky, but I can’t help but think that they would stop taking this trip by now if it made her as upset as it clearly seems to in this instance. I don’t know, I feel like she would have eventually brought it up at some point that she went through such an experience.

My next questions involve the underground itself. What they suggest is that for every action that takes place above ground, there is a duplicate action taking place underground. Now there’s many actions that the characters below are seen doing that are identical to the ones up above. For example, some will be riding a roller coaster, others will be playing a carnival game, and others will be walking around the carnival. The people riding the roller coaster aren’t moving locations, they are only moving in their seats like it’s a simulator ride at Universal Studios (roasted). This would perhaps make sense because they end up in the same location as before. But what if someone up above is driving a car. They don’t end up in the same location like a roller coaster would. What about if someone up above goes in a direction and the person below is blocked by a wall? Do they go around the wall and catch up with the people above later? Now what about if someone decides to go swimming in an ocean, lake, or river? Are there tunnels below for at least a potential several miles away from the shores of these bodies of water? What about travelling internationally? They suggested that the tunnels are only in the United States, but if someone travels to Europe or Asia, do the doppelgangers still follow them across the seas? How would they get there at the same amount of time as the people above? If the people above take a 12 hour flight to China, perhaps, would the doppelganger follow the person all the way to China. A person cannot physically travel over 600 miles/hour across oceans without vehicular assistance such as an airplane. And if they did find a way to travel 600 miles/hour across oceans underground, those tunnels that lead to areas beyond the United States must be really deep below the ocean. That could almost be potentially tens of thousands of feet below water. This given that the tunnels themselves are already likely around 100-250 ft. below the surface already. Explorers haven’t even been to the lowest depths of many of these oceans. The truth is we have no idea what’s going on down there. Did someone build those tunnels then that are over 35,000-40,000 feet below the ocean? And finally, when Adelaide goes to confront Red and Red explains to her the world that exists underground, it makes sense from a narrative stand point as we as the audience do not understand what is going on, but given the end of the film, Adelaide already knows how this universe works. She’s lived there for much of her childhood, she probably remembers it pretty well.

Honestly I could go on all day listing off the various things that don’t make sense about this universe. I will defend Peele, however, in that he probably did not have much time to explain this universe or set up the rules of it properly. If they ever choose to do a follow up to this movie (which seems unlikely) they would certainly answer these questions. This could potentially lead to really fun discussions and debates to have with your friends. Even though these plot holes slightly take me out of the movie, I do look forward to showing this movie to friends maybe who haven’t seen it or to watching it again with friends who are already fans of it like I am. And I think that is what makes this movie special. For all its plot holes, this movie seems to understand how to keep the audience engaged and entertained. It’s weird and different and definitely a very different film from Get Out. I wouldn’t say it’s so much scary as it is suspenseful. It is creepy, from the perspective of the children, to see your dad being dragged out of your house by a man that looks exactly like him, and it’s also creepy thinking about coming across your own killer doppelganger. Again, they know how you think, and they know how to instill the most painful and horrific death upon you. Overall, this is a really fun movie to converse with your friends about. I think it now makes sense why I wanted to get into spoilers with this one. I don’t know. I will probably keep doing more of these spoiler filled reviews as I tend to find they are much more fun then the traditional non spoiler review. I did a very similar thing with the film Climax and that was a ton of fun, so we’ll see. Expect that with Avengers: Endgame I’ll do the same style of review so I can just get into every little nook and cranny with that one.

Written by: Christian Scognamillo

Is Dumbo Worth Your Time?

Dumbo is an Unnecessary Disney Remake that has No Purpose for Existing.

So awhile ago, I went and watched the new version of Dumbo, and it was not good. The truth about Dumbo is that this is more of a product than anything else. Disney is a company that I’ve recently had less and less respect for, especially given the growing monopoly that they are beginning to have on the entertainment industry. They release movies to trick the audience into believing that they care about your childhood and the things you loved growing up, but they are actually cashing in on the nostalgia you have of these iconic films and franchises from your past. They’re forcing Pixar to constantly spam of sequels, and they’re pushing out Star Wars movies to the point where “Star Wars Fatigues” now reigns after the (arguably) disastrous releases of The Last Jedi and Solo: A Star Wars Story. Somehow, DC has been making better movies than Marvel, and most egregiously, they’re also spamming out live action remakes of classic 2D animated Disney films. I know I keep using the word “spamming” when describing the release of these films, but that’s what it feels like to me. In 2019 alone, we’re getting FOUR other live action remakes. FOUR! Tell me that’s not spamming. After this, we’re getting Aladdin, The Lion King, Maleficent 2, and Lady and the Tramp, which the latter will be exclusively for Disney+.

With all the complaining about Disney’s evil and conniving business methods out of the way, what makes this movie as flawed as it is?

It’s been probably more than ten years since I’ve seen the original film, but what I remember from it, it told the story of a little baby elephant at a circus who was bullied by his peers for having big ears, but learns to use them to his advantage as he discovers he can actually fly with these ears. He also tries to get his mother back after she goes crazy and puts another circus goer in danger. The remake tells a similar story but adds human characters to it and their struggle to keep a financial living in this little traveling circus they work for. Colin Farrell is the father of two children that he must take care of at the travelling circus but finds it difficult to do so after he discovers upon coming back from war that his wife has past away. Also,Danny Devito is the owner of the circus that agrees to make a partnership with a powerful entrepreneur, played by Michael Keaton.

So if I knew this Movie was Gonna be so Bad, why did I see it?

The reason I went and saw this movie was because I knew it would be directed by Tim Burton. Tim Burton is one of my favorite directors, and he’s the man who personally inspired me to make movies. He has so many classic and wonderful films, and I have nothing but respect for the creativity and imagination he has running through his crazy little brain. Although I acknowledge that his film Alice in Wonderland was the reason this whole trend of live action remakes started, at least that movie had a creative and unique voice to it. I had hoped that even if this movie wasn’t good, it would at least be a special and weird experience brought to you by the great Tim Burton.

And I have to say, this is not the worst of the Disney live action remakes. This film does has a voice of some kind. The choice to cast Eva Green, Danny Devito, and Michael Keaton who are all previous collaborators with Burton (see Miss Peregrine’s and Batman Returns), as well as the general aesthetic this movie presents throughout its production design (that isn’t a green screen) gives this movie a certain vibe that only Burton is capable of. The cinematography was neat, although the color palate was sometimes foggy, but not terribly distracting, and there was admittedly a very fun sense of adventure throughout this movie. And even though I knew exactly where this movie was gonna go, I wanted to see that adventure still play out.

Despite admiring Burton’s aesthetic, there are unfortunately some serious issues within the film making here.

When Dumbo isn’t allowing you to enjoy the magic and wonder that comes with seeing an elephant fly at a circus, it gives you a very awkward and otherwise poorly made film with no real personality within its script. If Tim Burton hadn’t directed this script, this would have easily could have been one of the soulless movies I had ever seen. The visual effects are terrible and look very fake given the standards of today’s movies. The acting from the kids is so bad it would take me out of the movie entirely, and the script is stupid, boring, and has no pay off or important themes to spread.

Oftentimes, characters will touch or look at Dumbo and they’ll be totally off from where he actually is. They’ll brush his little body and be missing him by about a few inches. The young girl in this movie also has a scene where she looks at Dumbo and she is not even staring at Dumbo directly, but instead off in the distance somewhere. Did they not use markers or anything to guide the actors and help them to give a better performance. Speaking of which, the girl in this movie is absolutely horrible. I feel bad because she is a little kid and I know it’s hard to act, but she just was unable to attempt to display any emotions whatsoever. She would literally stare at Dumbo flying through the circus tent with a straight face. I could tell she’s supposed to act amazed or something when this happens, because the little boy who’s even younger than her acting with her is much better than she is. It doesn’t help either that her character is just “female STEM major” and that’s it. Not saying there’s anything wrong with females entering the major; in fact I encourage it. It’s just that they make her trait of being a female scientist her only personality trait. It’s a problem that even feminists are having an issue with in current films that feature young girls. It’s a poor representation of a group of people who inspire others and make a difference in other people’s lives.

Overall, Dumbo was thankfully not a complete waste of time due to Burton’s good direction and production design, but is otherwise a film you should have no problem skipping.

It was a boring movie with bad effects, bad acting, and a bad script. I recommend you skip this movie and see Us, Shazam!, or even Pet Semetary instead. These are all films that are much better and made by people who care, at least a little bit, of the films they are putting out there. And you can’t even shift the blame onto Burton. The issues come from the studio for making this the way they did. I know I seem angry talking about this movie, but I think it’s more because I know it’s behind a company that only cares about spamming out products as quickly as possible and generating online buzz and coverage about their movies in the process. The movie alone really just made me want to fall asleep, which is never a good thing to experience with a movie. If you’re also sick of Disney making these pointless remakes that are only designed to be second place to the original anyways, then speak with your wallets and skip this one. I used my AMC A-List for this one, so hopefully theirs not as much blood on my hands.

Written by: Christian Scognamillo

Thoroughbreds (2017) – Film Review

A transitory game of chess within Thoroughbreds (2017): featuring a modern suburban slasher!

No Guts, No Glory

Thoroughbreds (2017) is a film directed by Cory Finley about two wealthy suburban ex-friends who have since fallen apart throughout the years they spent in high school. Here, Anya Taylor-Joy plays a by-the-books girl named Lily who lives with her mother and her filthy rich step-dad Mark. As with most instances of step-parentry, it seems our dear Lily has a bone to pick with the newest addition to their family. Mark can be described, if spoken truthfully, as a prestigious and pompous power-hogging pig. In laymen’s terms: Mark’s an asshole. A real big asshole. The “abusive to my mom but he gets away with it because he’s got money and supports us financially” kind of asshole. There’s no way to get around it; Lily just has to learn to tolerate him. That is, at least, until her old gal pal Amanda, played by Olivia Cooke, crawls back into her life and suggests an alternative. At first, Lily wants nothing more from Amanda than some extra cash for tutoring her for the SAT. But after opening up to one another over a bottle of Mark’s stolen wine, Lily discovers her childhood friend may have more uses than just that simple monetary gain. After all, what’s a little cash compared to justice by your own hand?

There’s nothing wrong with being a little unstable. 

This film’s got it all; good sound design, strong acting, intriguing and deep characters, anxiety-boosting conflict, and BBH’s (big, beautiful houses). It also includes a single (1) horse. Truthfully, the film should be called “Thoroughbred” since there’s only one horse, but I digress. I think this film is definitely worth your time. If I had to rate it, I’d give it around 4.5/5 stars. Although Thoroughbreds (2017) left me with some strange feelings afterwards, watching the personalities of Lily and Amanda develop and change throughout the films 90-minute run time was definitely worth the ride.

This next paragraph will include spoilers.

All Guts, and Some Spine Too

The rekindling of a friendship is not something done so easily when your childhood companion has recently executed a stallion. Yeah, you heard me PETA. Amanda killed her decrepit steed with her own bare hands. Of course, I am over-exaggerating a bit. You see, it wasn’t a killing out of malice, but instead was done out of mercy. Honeymooner, Amanda’s racehorse who she won many medals with in her younger years, had broken his leg and was reported to never be able to walk again. When Amanda hears of this, she sees it as a cruelty for the horse to live any longer, and discusses it with her mother to see what can be done. As Honeymooner has been a member of their family for a long time, just as long as Amanda has been alive, the mother let’s her emotions get the best of her and doesn’t allow for him to be put down by a veterinarian. This, of course, is seen by Amanda to be an illogical move from her mother, manifested from her birth-giver’s weak moral character. She then takes up the responsibility to put the horse down herself as this was, in her mind, the most logical thing to do.

While the execution involved failed euthanasia, flesh-stripping, bone-breaking, and spine-smashing, none of this seemed to bother Amanda much. You see, contrary to most sane humans, Amanda doesn’t feel emotion. She may get tired or hungry, but when it comes to joy or guilt or remorse, it just doesn’t come to her. It was easy for Amanda to kill Honeymooner, and she didn’t revel in it either. She just felt it was something that had to be done.

This unethical act unsurprisingly lands Amanda with an animal cruelty offense, but she continues her life while awaiting trial, although she feels her existence may not have much purpose. When this is all explained to Lily, she realizes that her friend is not necessarily insane but instead just exceptionally logical when it comes to solving conflicts. Amanda’s lack of pathos results in her thinking of every scenario as a math problem: whats the most effective possible outcome and how can I get there the fastest? She does not hesitate, she makes a choice and she follows it immediately.

The Master Plan

While rummaging through Mark’s wine cellar, Amanda proposes to Lily that she should just kill her step-father. In this scenario, Amanda sees Mark as the lame horse, not functioning effectively either as a father or as a good husband to Lily’s mother, and therefore feels justified in suggesting they kill him. Doubling down on her logic, Amanda states that it would benefit a large amount of people and have very low outcomes in terms of repercussions; plus, if planned correctly, they could avoid being caught altogether. Lily gets mad and kicks Amanda out of her house, disagreeing with the brash girls way of thinking and her “lame horses should be put down” ideals. As the film progresses, Lily comes around to the idea though, and proposes they talk to their local child-molesting drug-dealer and try to hire him to pull a hit on Mark. After the delinquent falls through, however, Lily returns to the house to find Mark is still alive and kicking. She decides she will have no more of this and takes manners into her own hands.

Making Your Mark

On a seemingly regular night sitting on the couch with Amanda, Lily asks her if she believes her life is worth living. Amanda is taken aback by this on accounts of her not having thought of it before. After turning it over in her head for a bit, she decides that it isn’t, and asks Lily why she asked such a question while taking a sip of her lemonade. “If you can’t feel happiness, if you don’t have a good future, is life even worth living?” It appears in this case that it is, as Amanda’s lack of goal or purpose allows her to be a signature component of Lily’s plan. Lily informed Amanda that she tried drugging her lemonade in order to knock her out, kill her stepdad with a knife, and frame it on her. Amanda is not offended however, and instead drinks all of her lemonade in order to knock herself out and help Lily continue with her plan. By taking control of the situation and catalyzing Lily’s plan, Amanda acts as a martyr in order for her friend to succeed in her goal to end Mark’s life. Lily goes through with it, framing (consenting) Amanda for the murder of her step-father and landing her in a mental hospital. Amanda again doesn’t mind this because she believes it’s the most logical thing to do. Her friend is miserable because of Mark and she herself has no life purpose, so she believes the best option is to be take the fall for it and let Lily come out victorious.

By the end of the film, it’s almost as if our two protagonists have shifted personas. Lily now walks around town like the queen she is, giving everybody cold stares and presenting very little emotion while being more stern and logical. Amanda, on the other hand, spends her jailbird days painting and crocheting with all the other locked up loonies in there. She doesn’t mind it though. She tells Lily in a letter that the staff there are very nice for the most part. She explains a recurring dream to Lily too, one where all the people in the world are rich and can’t take their heads out of the material things in the world. Time passes and everything rots away, only leaving the thoroughbred horses. They roam the planet with no worry of their value or goal in life but instead just enjoy being wild animals. In this sense, the girls are the thoroughbreds. They do what they please, they roam with no rules and they live with power in their hands. They aren’t afraid of what will be done to them, they know that if the world ever falls apart and all the filthy rich bastard rot in place, they will be there still. They’ll gallop over fields of grass and drink from clear rivers and clop over debilitated houses. In a way, they both used each other, but it was a mutual gain. Lily learned how to be cold and got rid of the person who hurt her family the most, while Amanda learned how to see beauty in the small and insignificant, and even learned how to smile without looking in a mirror. She might’ve ended up in confinement, but she doesn’t care so long as she had a reason to live for.

All in all, Thoroughbreds (2017) is definitely a film you shouldn’t miss. That is, if you can handle topics such as murder, patricide, drug use, and other not-so-innocent topics.

Written by: Fabrizio Ramirez

Is How to Train Your Dragon: the Hidden World Worth Your Time?

How to Train Your Dragon: The Hidden World ends the long-running trilogy with a fun, wholesome ending.

How to Train Your Dragon: The Hidden World was directed by Dean Belois.  This is the third and seemingly final film in the How to Train Your Dragon trilogy produced by Dreamworks Animation.

If you’ve never heard of this trilogy before, these animated films tell the story of Hiccup (played by Jay Baruchel) and his friends who live with their dragons at Berk.  The first film told of the people of Berk domesticating the dragons after initially hunting them down.  It was about the relationships that these people could develop with these seemingly violent and frightening creatures.   It was a wholesome yet exciting film that would launch arguably Dreamworks’ best franchise to date.  The second film then resumed Hiccup’s journey as he searches for his mother that he believed was dead.  In terms of the whole trilogy, this one reigns supreme as the best one in the series; the film carried the most emotion without losing sight of the larger world the series was trying to build.  Additionally, action scenes in The Hidden World were by far and away some of Dreamworks’ best animation to date.

The newest How to Train Your Dragon film starts off following the events of the second film, with Hiccup’s father now dead and his mother back in his life.  After learning about yet another person who wants to take their dragons and destroy their homes, they realize the possibility of the existence of another world in which the dragons can live in peace away from the rest of society. Hiccup, having assumed the role of chief, decides that it’s a good idea to get not only the people of Berk to safety but more importantly the dragons as well.  Things get more complicated when the main dragon, Toothless, meets another female dragon and develops a relationship with it.  While the gang wonder what the best way to accomplish this goal could be, they begin to consider the possibility of releasing the dragons into the wild.

Although this latest entry in the How to Train Your Dragon series has heart and some touching scene, it’s not perfect.

I would say the scenes whenever the characters considered what life would be like without their dragons are probably the best ones of this film.  I further think this is the emotional highlight of the film when it comes to the way this story is structured.  The other aspect I really liked is of course the animation, but I also don’t really think animated movies are released today without top-notch animation.  These movies have always had really nice animation and this film is no exception.

The biggest flaw with this movie is the pacing.  Despite running for 1hr 44mins, the filmmakers still didn’t have enough time to tell the story they wanted to.  This affected certain elements of the film into feeling rushed, whereas other unnecessary elements felt overly drawn out and exhausting to watch.  The film chooses to spend much of its time showing either the characters quickly interact with the villains, the two leading dragons going on their little dates (which admittedly are very entertaining), or the other side characters being goofy and getting into silly shenanigans.   Many of these moments felt like they were only there in order for the film to force either substance or bad comedy into it.  Although it’s been awhile since I’ve seen the first two How to Train Your Dragon films, but I remember them being pretty funny.  I think that’s why it was surprising to me to see this film and acknowledge that it’s really not that funny.  The humor is mostly very juvenile and meant to cater towards children.  If the humor took a backseat to the drama the characters face this wouldn’t be a big deal, it’s just the fact that jokes are thrown in very often which makes this experience very distracting.

Even though I really liked the animation and I thought the emotions shared between the characters and their dragons were strong, this movie overall is somewhat boring.  Honestly, this is perhaps the weakest movie in this trilogy and the reason for that would be because the film does not have much substance to it.  The supposed feeling of dread that these characters have is never fully related or felt by the audience.  My guess as to why this is the case is likely because they don’t want to make the kids watching this feel uneasy.  And while that is understandable, you can still keep the audience engaged and feeling like the stakes are high while still entertaining the kids.  Good examples of this concept are the first two How to Train Your Dragon films or the Toy Story films, as these films showed managed to be entertaining for both kids and adults.

I will say that the resolution to this film and the ending to the How to Train Your Dragon trilogy is very well done.

When it is time for the climax to come that has been built up for the entire film, it feels mostly underwhelming and it comes in really quickly.  I would say the final fight of this film, although very good, is probably under 10 minutes, which is not usual for one of these movies.  What’s interesting though is that I really like the climax and I think it is my favorite part of the film, it’s just jarring to see it come so quickly is all.  What leads after the fight is really wonderful I will say though.  I won’t give away the resolution of what happens to the dragons and to Hiccup and his friends but I thought that was very satisfying.  I just wish the film had a story with higher stakes so that this ending could feel more earned.

I know I’ve been trashing on this movie a lot, but I really don’t think it’s bad.  I’d be lying if I said I didn’t think this film was disappointing, but I acknowledge that these films could be so much worse and more childish.  I think this film has the potential to bore some audience members, but I thought it was fine really.    I am happy I saw where these characters ended up and was able to watch their growth and development.  The main characters all go through incredible arcs that changes who they are and that was very interesting to see as well.  If you want to see how this trilogy ends, I’d say check it out.  I would say my enthusiasm for this film is mostly reserved just because I thought the film was underwhelming more than anything, but I still thought it was perfectly fine.  I would just say expect to possibly be disappointed and acknowledge that the film does feel rushed at times.

Written by: Christian Scognamillo