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No Mere Kids Film

How to Train Your Dragon 2 wows with exceptional animation and story depth

Alex Bentley
Jun 13, 2014 | 10:54 am
How to Train Your Dragon 2 wows with exceptional animation and story depth
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The main reason that most sequels fail to satisfy is because it’s nearly impossible to replicate the originality of the first film. Audiences already know the main characters, so sequels tend to rely on the tried-and-true instead of trying something different.

How to Train Your Dragon 2 doesn’t veer off on a completely new path, but its stellar animation, surprising maturity and sheer sense of fun make it one of the best sequels, animated or not, to come out in a while.

Whether the dragons are whooshing across the sky for battle or pleasure, the ability to fly along with them, especially in 3D, is akin to magic.

The hero of Dragon is once again Hiccup (Jay Baruchel), now ensconced as a respected leader of Berk after showing that dragons could be used for good instead of being viewed as enemies. His dad, Stoick (Gerard Butler), is still the chief of the Viking village, and Astrid (American Ferrara) has been upgraded from friendly rival to girlfriend.

On one of their many explorations on their dragons, Hiccup and Astrid run across dragon thieves doing the dirty work of the evil Drago (Djimon Hounsou). This sets in motion an effort to protect the dragons of Berk, one that puts Hiccup on a path to meet his mother, Valka (Cate Blanchett), whom he hasn’t seen in nearly 20 years.

Because riding dragons is now an established part of the Dragon world, writer/director Dean DeBlois takes every opportunity to set the action in the sky, something that never disappoints. Whether the dragons are whooshing through rock formations, battling other dragons or simply going for an easy afternoon flight, the ability to fly along with them, especially in 3D, is akin to magic — and it never gets old.

That fun is backed up by the story, one that successfully advances certain characters while also introducing interesting new ones to the mix. As in the first film, Hiccup and Astrid are shown on an even level despite Hiccup’s status as the protagonist. Astrid can more than hold her own, something she’s shown doing on multiple occasions.

But even more impressive is an extended look at the reunion between Stoick and Valka. Most animated films would gloss over a scene like that in order to get back to more action or slapstick. Instead, DeBlois treats them like a real married couple, making sure the emotion of their meeting again after so many years doesn’t get short shrift.

The film also surprises with its attention to detail. There are many times when what’s happening behind characters, like dragons constantly playing, can be as entertaining as the actual focus of a scene. Another moment in which Astrid absentmindedly braids strands of Hiccup’s hair does more to exemplify the state of their relationship than any words could ever say.

From the biggest battle to the most intimate moment, How to Train Your Dragon 2 strikes almost all the right chords. Just like all the best animated films, it’s not merely for kids.

The dragons in the sequel are just a wee bit bigger than in the original.

How to Train Your Dragon 2
Photo courtesy of Dreamworks Animation
The dragons in the sequel are just a wee bit bigger than in the original.
unspecified
news/entertainment

Movie Review

Improv acting proves a detriment for Dakota Fanning-led The Sun Never Sets

Alex Bentley
Sep 4, 2026 | 11:30 am
Dakota Fanning in The Sun Never Sets
Photo courtesy of Independent Film Company
Dakota Fanning in The Sun Never Sets.

The movies of writer/director Joe Swanberg have always been an acquired taste, as he prefers to give his actors a loose framework of a story and let them improvise most of their lines to give the films a more natural feel. Sometimes that approach can yield great results, and sometimes - as in The Sun Never Sets - it can result in addled and maddening storytelling.

Wendy (Dakota Fanning) is in her early 30s and at a crossroads in her life. When a friend announces she’s pregnant, she starts to re-evaluate what she wants, including her two-year relationship with the older Jack (Jake Johnson). Although they love each other, their disagreements on having more children and extracurricular activities call their long-term viability into question.

Jack, not wanting Wendy to settle, encourages her to explore her options where they live - Anchorage, Alaska - telling her he’ll be waiting should she strike out. What he doesn’t expect is that Wendy’s ex-boyfriend, Chuck (Cory Michael Smith), has returned to the city, giving her an attractive alternative. The three engage in a love triangle that proves frustrating and confusing for both the participants and the viewers.

What works best about the film is its location in Alaska, which rarely gets showcased in movies, and even more rarely in the way it is here. The story takes place in warmer months, and Swanberg gives his characters multiple opportunities to be outside, showing off Anchorage’s harbor, surrounding mountains, and seemingly vibrant city life. The subtle but effective way Swanberg frames various scenes makes the landscape enormously appealing.

It’s too bad, then, that the story never measures up to its surroundings. Too often Fanning, Johnson, Smith, and others seem to be grasping for their next line, unsure of what they want their character to do or say next. That lets their scenes mimic real conversations, but you might not realize how much you want scripted dialogue until you see actors trying to come up with their own in the moment.

The larger issue is that there’s no consistency from scene to scene about where the plot is heading. The characters of Wendy, Jack, and Chuck are extremely wishy-washy about their desires, with each of them vacillating back-and-forth in just how much they want to be with each other. Depending on your experience, this may or may not be true to life, but watching it is excruciating and not enjoyable or romantic in the slightest.

As actors, Fanning, Johnson, and Smith are talented and interesting, with each capable of connecting with viewers in different ways. But working in improvisation is a different beast, and only Johnson - who has worked with Swanberg multiple times - seems truly at home. A few others, like Debby Ryan and Anna Konkle, do well in the format and maybe deserved bigger parts.

Swanberg has proven in the past that his method of filmmaking can be insightful and entertaining, but that is not the case here. In The Sun Never Sets, his hands-off approach is a detriment to the flow of the film and the story as a whole, resulting in an experience that is far from what most viewers will want to go through.

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The Sun Never Sets is now playing in select theaters.

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