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Movie Review

How to Train Your Dragon remake flies high with fun and drama

Alex Bentley
Jun 12, 2025 | 12:23 pm
Toothless and Mason Thames in How to Train Your Dragon

Toothless and Mason Thames in How to Train Your Dragon.

Photo courtesy of Universal Pictures

Let’s get it out of the way right at the top: The new live-action How to Train Your Dragon, coming a mere 15 years after the original animated film, serves no real purpose other than to make more money for Universal Pictures and Dreamworks Pictures. However, unlike Disney’s approach toward remaking their animated movies, this attempt manages to succeed on its own merits instead of being a half-baked vessel for nostalgia.

As fans will remember, Hiccup (Mason Thames) lives in Berk, a town on a remote island populated by Vikings who constantly have to defend themselves against rampaging dragons. Hiccup’s dad, Stoick (Gerard Butler), is the community’s vaunted leader, with a legacy that seems impossible for Hiccup to measure up to, especially since he’s stuck in the armory alongside Gobber (Nick Frost).

But Hiccup has a knack for inventions, and his use of one new weapon during a dragon attack takes down a feared Night Fury. Finding the wounded dragon deep in the forest, Hiccup decides against killing it, leading to an unexpected bond between the two of them. Most of the film shows Hiccup trying to prove himself to his townspeople, including the fierce Astrid (Nico Parker), while also nursing the dragon he dubs Toothless back to health with the help of another one of his ingenious creations.

Written and directed by Dean DeBlois (who’s had the same roles on all four HTTYD films), the film is most notable for how engaging it is despite it retelling a story many already know and love. The biggest reason for this is a pivot away from telling a story mainly for kids toward one that feels like an extremely light version of Game of Thrones. Almost right away, there are real stakes for the people in the film, and the way DeBlois and his team stage the scenes, the danger can be felt by the audience.

This sense of “realness” comes through especially well in the scenes between Hiccup and Toothless. The design of Toothless is faithful to the original, but the CGI makes the dragon feel amazingly believable. And when they start flying, the film literally and metaphorically takes off. At multiple points, the camera seems to have trouble keeping them in frame, a smart move toward verisimilitude when the filmmakers clearly could have made it an overly smooth watching experience.

Even though it’s more serious than the original, the film still has plenty of fun to offer. Characters like Gobber (who replaces his two missing limbs with odd contraptions) and the ragtag group of teenagers who come to be in awe of Hiccup’s skills at taming dragons provide more than a few laughs. Hiccup isn’t quite as goofy as he was when voiced by Jay Baruchel, which turns out to be a good thing as his sense of purpose amps up the drama of the story.

Thames’ performance gets better and better as the film goes along, as Hiccup goes from town whipping boy toward hero. He really shines in the last act when he’s given a few scenes that show off his acting range. Parker is equally good, demonstrating the girl power needed for the role, but also the softness of a potential love interest. Butler, the only actor reprising their voice role, is a great presence who sells the outsized personality of Stoick.

Against the odds, this new version of How to Train Your Dragon is equal to the success of the first film, accomplishing the goal of making it feel like you’re watching the story for the first time. If live-action remakes are going to continue to come out, future filmmakers should study this film for how to respect both the history of the franchise and the audience paying good money to be entertained.

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How to Train Your Dragon opens in theaters on June 13.

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Movie Review

Andrew Garfield leads peasant rebellion in medieval film The Uprising

Alex Bentley
Sep 10, 2026 | 12:15 pm
Andrew Garfield in The Uprising
Photo by Betina La Plante/Focus Features
Andrew Garfield in The Uprising.

Writer/director Paul Greengrass made his name with a cinéma vérité style of filmmaking that brought immediacy and depth to three Jason Bourne films, United 93, Captain Phillips, and more. In The Uprising, he uses those skills to tell the story of the so-called Peasants’ Revolt in 14th century England.

Greengrass wastes no time starting the main plot as Ploughman (Andrew Garfield) and his fellow villagers object to onerous taxes put on them by the country’s nobility, led by the young King Richard II (Woody Norman), to fund an ongoing war. Ploughman initiates a violent response over the tone-deaf — and unseemly — way the king’s guard go about their business, and the rebellion soon starts to spread across the countryside, with the citizens looking for a degree of autonomy.

The ever-expanding group makes their way toward London to try to make their case to the king himself. Meanwhile, the king’s top advisors, including Archbishop Sudbury (Stephen Dillane) and Treasurer Hales (Tom Hollander), try to usurp power from the inexperienced monarch even as the king’s mother (Katherine Waterston) tries to get him to be more assertive.

The history of the English monarchy is long and lurid, as Shakespeare detailed in multiple plays, including Richard II. Though the events in the film took place almost 650 years ago, it’s easy to see parallels between what the peasants were fighting for and modern-day politics. Greengrass’ storytelling intent is solid, and the righteous anger the citizens feel is initially relatable and palpable.

But the populism theme of the story soon gets bogged down in drudgery and minutiae that is difficult to understand, especially when the details are lost in the thick regional English accents. The leaders of the rebels — including John Ball (Jamie Bell), Wat Tyler (Cosmo Jarvis), and Alyce (Thomasin McKenzie) — are shown doing a lot of planning, but the strong feelings they have about their quest don’t come across well, leaving the audience as passive observers.

When there is action, Greengrass and his team employ a frenetic style that is not great for comprehension. While the gist of what is happening and what side is winning is legible, individual moments go by so quickly so as to be nearly meaningless. Save for Ploughman, any connection that has been made with various characters proves futile, as Greengrass doesn’t seem to have any time for emotion. Scenes that should feel thrilling or heartbreaking instead come off as empty.

Garfield is a two-time Oscar nominee who has done great work across multiple genres. He’s fine in this role, but whether it’s the story, the filmmaking, or something else, he’s not as captivating as usual. The same goes for other strong actors like Bell, McKenzie, Dillane, Hollander, and Waterston, who each seem to be giving their all to their performances but are somehow muted in the process.

Done right, The Uprising could have been a rip-roaring account of people standing up against their oppressors. What Greengrass has made, though, is a film that can’t translate its medieval story for a modern audience and concentrates too much on unexciting elements and too little on thrilling ones.

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The Uprising is now playing in theaters.

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