Jay Baruchel, America Ferrera, F. Murray Abraham, Cate Blanchett, Jonah Hill, Kristen Wiig, Christopher Mintz-Plasse, Justin Rupple, Kit Harington
Theaters everywhere on February 22
Most animation films from big studios and big budgets are, at the very least, dazzling technical achievements. What is frustrating is with indifference written there are so many of them, that you end up feeling bad for the animators, carefully making each strand of hair and each blade of grass, all at the service of the magic of the very first throw. The hidden world, the third entry in the newspaper but probably not final, if this one is mint How to train his dragon series, is about as breathtaking as its predecessors. From the beginning, the "camera" crisscrosses the hairpin topography of a paradise island in the North Sea, and your eyes burst with joy, trying to capture all the menagerie of colorful, eponymous beasts packed in every frame. Later, to crown this rainbow show, we visit a lost kingdom that resembles an arid tropical reef, illuminated by the almost paradisiac glow of its flora and fauna. The hidden world do not really stop giving you beautiful things to admire. But as a narrative act, it is oddly superficial, he never lives up to the effort and care he has devoted to creating his horn of pleasurable visual pleasures.
It was not a problem with the original How to train his dragon, which has adapted Cressida Cowell's lit up children's bestseller to a simple and captivating fable about the interspecific friendship that develops between a pacifist teenager, Viking, and his exotic animal, jet black and fire-breathing. It remains the closest DreamWorks Animation has managed to reach the heights of classic Disney or Pixar enchantment. But the sequel to 2014 has lost some of this charm, cluttering new superfluous characters while only recycling the messages of the first self-made movie. In the third part, we return once more to the island of Berk, a country of bearded and wavy warriors and their scaly companions. The Vikings have adapted so much to the company of dragons that they do not even seem to consider their former natural enemies with wonder – they are only part of everyday life. Unfortunately, the film itself adopts the same laid-back perspective on its main attractions. We all know why dragons are cool and special, and it's not necessary to present the case again.
A year after the events of the second film, Hiccup (Jay Baruchel), who took over the baton from his father who died as chief of the tribe, dreams of moving, of abandoning the ancestral homeland for a greener future: the legendary hidden world of the title, which does not appear on any map, but which would be somewhere in the west, hidden behind a waterfall. Saving and domesticating dragons certainly put Berk on the map. Grimmel, a legendary big game hunter who targets Hiccup's winged creature, among those who want to fight, is one of the poorest. Ignoring his career, F. Murray Abraham expresses his voice to the villain with a surplus of sumptuous pride. But there is really not much dimension for this guy, even for the heavy family film. (His motivation: he hates dragons.) Beyond a formidable new opponent, Hiccup tackles the slight pressure exerted by everyone to force him to settle and attach to his girlfriend, Astrid (America Ferrera). If the first Dragon The film was intended to challenge social expectations, the suites have collapsed to take care of reaching and managing them.
The scenario of Dean DeBlois, the writer-director and head of the series, returns with secondary intrigues. One of them involves Snotlout (Jonah Hill), his relentless sidekick, and his strange fixation with Hiccup's mother, Valka (Cate Blanchett) – although it's honestly difficult to know if he's looking for a surrogate parent , a mentor or something less platonic. (The competition for his attention takes the form of Eret, deeply inessential Kit Harington, which seems to have been introduced in the last installment for the sole purpose of being expressed by a person of Throne Games.) Unsurprisingly, the film comes to life especially when it moves away from its human characters in favor of the dragons. Without teeth itself remains an inspired creation: the mythological creature, adorable hambone, plays in front of the camera like a famous cat on the Internet. The hidden world partially depends on the appearance of a female Albino dragon of his breed (a "light fury", as it is called), and DeBlois draws a solid, wordless comedy from the clumsy animal court, tilting his film briefly surplanté Bambi and The Lady and the Tramp territory.
One has the impression, common to animated suites or not, that it is not a story that needs to be told. The hidden world does not end up creating an emotion, Hail Mary, his own Toy Story 3 larmoyeur of a trilogy conclusion. But everything that happened before seems almost to fill: it is the destination, and not the trip, that seems to interest everyone. And the end rests on a link, that central kinship between a boy and his beast, which DeBlois strangely neglects, just as he relied on a persistent affection for this world and these characters to do most of the work. Maybe that will be enough for the Dragon faithful, especially those who have watched the last two episodes often enough to commit each of their frenzied detours, falling petticoats and motivational speeches inspired by memory. But in The hidden worldonly the indefatigable animators seem determined to give these same fans more than nostalgia. What is really hidden here is the real attraction of How to train his dragon.