How 2019 is a One of a Kind Movie Year

This is something I brought up in my 800th blog back in the day, but I thought it was interesting enough to point out again (plus, heaven knows I could really use with more updates as of late). And this something is the simple fact that I think 2019 is shaping up to be a one of a kind year for movies.

“How so?” you may be asking. The reason is that 2019 is (quite obviously) the last year of the decade, but in an instance of “stars aligning,” many of the films being released in 2019 are appropriately bringing a close to this decade in cinema.

Take for example Avengers: Endgame, the biggest film of the year (and all time, boy does it feel good to say that). Though the first two Marvel Cinematic Universe films were released in 2008, the majority of the MCU has been the dominant force in movies of the 2010s. Year after year this decade, Marvel has released blockbuster after blockbuster in their colossal crossover mega-franchise. And though the MCU is scheduled to continue, Endgame brought everything in the MCU thus far to a grand, satisfying close. More than twenty MCU films were released during the 2010s, and fittingly, the MCU’s grand finale (up to this point) was released in the last year of the 2010s.

Similarly, the Star Wars sequel trilogy, which began with The Force Awakens in 2015, will come to its conclusion in 2019 with Episode IX: The Rise of Skywalker (Star Wars movies never were good with titles). This will make it the only Star Wars trilogy to be a part of a single decade. The original Star Wars trilogy began in 1977, with the two subsequent installments being released in the 1980s. While the Star Wars prequel trilogy began in 1999, and continued into the 2000s. But the Star Wars sequel trilogy is uniquely tied to a singular decade which, in a weird way, I think makes it the most decade-defining trilogy in the franchise.

On a much smaller note, the How to Train Your Dragon franchise, which began in 2010 at the very start of this decade, saw its third and final installment hit theaters this year, meaning Dreamworks’s trilogy bookended the movie decade. Hell, even the Stephen King “It” duology released its second half in 2019, after the first half became one of the most unexpected success stories of the movie decade.

Speaking of unexpected success stories, that brings us to Disney’s Frozen, which I think is safe to say was the movie surprise of the 2010s. Sure, you expect Disney animated films to be successful, but Frozen was on a whole other level, and with relatively little fanfare in the buildup to its 2013 release. Not only was Frozen Disney’s most iconic animated feature in decades, it became one of the biggest pop culture phenomenons in history. Fittingly enough Frozen – the biggest movie/franchise to originate in this decade – will see the release of its long-awaited sequel towards the end of 2019. And though there’s nothing definitively “final” about Frozen II (that we know of yet) like there is for The Rise of Skywalker or Endgame, the fact that this decade’s biggest contribution to pop culture will be getting a sequel as the decade comes to a close just feels fitting.

While the final year of any decade has film buffs reflecting on the past ten years of cinema and trying to compile their favorites from within that time, I don’t think there’s been another instance of another ‘last year of the decade’ where the finality of it was reflected so strongly in its films. Again, I feel it’s a “stars aligning” situation, where so many individual elements just came together. Perhaps some of these “endings” to the movies of the 2010s were intentionally released at the decade’s end. But the fact that so many of them fell so neatly into place seems like an unprecedented occurrence in the movie world. I’m happy to be experiencing such a unique year in film.

How to Train Your Dragon: The Hidden World Review

During a flashback sequence in How to Train Your Dragon: The Hidden World – the third and final entry in Dreamworks Animation’s critically-acclaimed trilogy – Stoic the Vast (Gerard Butler) tells his young son Hiccup (Jay Baruchel) that “Love comes with the great price of loss.” It’s a hefty message for a “kid’s movie,” one that treats its target audience with respect, and trusts that they’re mature enough for it. It’s also a fitting message, seeing as the How to Train Your Dragon series began at the dawn of the 2010s, the series now seems to be bookending the movie decade, with many of those who watched the original in theaters as children now adults themselves.

That’s why I wish I could say that How to Train Your Dragon: The Hidden World lived up to that message. The Hidden World may earn brownie points for never talking down to its young demographic, but like both of its predecessors, it ultimately plays things safe in terms of narrative structure. And what could have been a deep, melancholic change of pace for the franchise is unfortunately a missed opportunity in a rather by-the-books animated adventure.

That’s not to say that How to Train Your Dragon: The Hidden World is bad by any means. But I’ve always felt that this franchise’s acclaim has been a little misplaced, with most of its praise stemming from the fact that it was a Dreamworks franchise not built on sarcasm (admittedly a novelty for the studio), as opposed to anything remotely resembling Pixar levels of storytelling and thematic invention. How to Train Your Dragon was always a good series, just not really special in the way its acclaim might have you believe. In that sense, The Hidden World lives up to its predecessors’ quality, but it’s a shame that this final entry couldn’t ascend into something more than the series’ “solid but safe” status.

Taking place one year after the defeat of Drago Bludvist and the death of Stoic the Vast in How to Train Your Dragon 2, The Hidden World sees Hiccup as the new chieftain 0f the vikings of Berk. And Hiccup’s pet dragon (a ‘Night Fury’ to be precise), Toothless, is the alpha dragon of Berk. With vikings and dragons finally coexisting in peace, Berk seems like a paradise.

Hiccup and his friends – including his now-girlfriend Astrid (America Ferrera) – have been freeing dragons from less open-minded vikings, and bringing them to Berk as a kind of dragon utopia. But this eventually riles the ire of several viking warlords, who recruit the infamous dragon hunter Grimmel the Grisly (F. Murray Abraham) – the man responsible for sending Night Furies to the brink of extinction – to hunt Toothless and claim Berk’s army of dragons.

Grimmel proves to be a cunning foe, and eludes Berk’s attempts to thwart him. Out of desperation, Hiccups commands the citizens and dragons of Berk to find a new home, on their journey to find the fabled “Hidden World” which can serve as a sanctuary for dragons, outside of human reach. But Grimmel has an ace up his sleeve, a female “Light Fury,” which he plans on using to lure Toothless out of hiding.

It’s a straightforward plot, but one that feels epic in buildup, but ultimately misses its potential in execution. The Hidden World retains the series’ standard hour and a half runtime, but the story at hand feels like it needs more. As a result of cramming in an epic scope into a shorter runtime, many key moments in the film fly by pretty quickly. When what I assumed to be another action set piece ended up being the climax of the film, it really became apparent how rushed the film can feel. It leaves both the big action scenarios and the key emotional moments feeling a tad underwhelming.

Another persistent issue with the franchise which is still at play here is that there are too many side characters. We have Hiccup and Astrid’s friends; Snotlout (Jonah Hill), twins Ruffnut and Tuffnut (Kristin Wiig and Justin Rupple), Fishlegs (Christopher Mintz-Plasse), as well as Hiccup’s mother Valka (Cate Blanchett), Berk’s resident blacksmith Gobber (Craig Ferguson) and enemy-turned ally Eret (Kit Harington). This abundance of side characters may not have been an issue, if not for the fact that – aside from Valka and Eret – they are all played entirely for comic relief, which basically makes them interchangeable. Once again, if the film were given more time to develop these characters, they may have been a little more than their introductory punchlines. Yet here we are at the end of the series and that’s still where they are.

Of course, the relationship between Hiccup and Toothless is still sweet and memorable. Additionally, the relationship between Toothless and the Light Fury is a cute, Lady and the Tramp-style romantic subplot. And I do have to admit, Grimmel is a step up from Bludvist in the bad guy department.

How to Train Your Dragon: The Hidden World still showcases the strengths of the series: The animation is often stunningly beautiful, the various creature designs for the dragons are cute and charming, and the music is as gorgeous and epic as ever. Like its predecessors, the things that How to Train Your Dragon: The Hidden World does well, it does very well. But the disappointing thing is that, in terms of story, the franchise has done very little to stand out on a narrative or thematic level. And more so than the past two entries, The Hidden World suffers from its relatively short running time (plenty of animated films aimed at children reach the two hour mark these days. And when trying to tell a story on this scale, the extra time really could have helped).

The How to Train Your Dragon trilogy can at hold its head high knowing that all three of its acts are genuine efforts that are sure to please fans. But it is a bit of a shame that its storytelling capabilities never really evolved beyond tried-and-true animated conventions. Still, a consistent trilogy is hard to come by, and fans of How to Train Your Dragon will be happy to know that their series is one of the few to have pulled it off.

 

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