TMW #61: How to Train Your Dragon, Echo Valley and Tornado reviewed
Plus, must-see trailers and more
Here’s the latest review round-up - let us know in the comments what you end up watching this weekend! And as ever, we’d love your likes, shares and restacks.
How to Train Your Dragon
PG, in cinemas now
⭐⭐⭐⭐☆
Live-action remakes, divisive as they are, always present something of a quandary. Given how faithful they tend to be (and judging by the recent success of Lilo & Stitch, that’s what a lot of viewers want), you’re left with the slightly uncanny feeling of effectively watching a film you’ve seen before, and possibly know extremely well. For some, that’s an insurmountable hurdle, and makes the very idea of these remakes a pointless exercise. But How to Train Your Dragon exists in the select position of being the most faithful live-action adaptation yet, and probably the best.
This is DreamWorks Animation’s first time entering a market that’s so far been dominated by Disney, and its fidelity to the original 2010 film extends to key talent returning (this is, until Moana arrives, the most recent animated film to be adapted). Director Dean DeBlois helmed the animated version with Chris Sanders - strangely, the duo also directed 2002’s Lilo & Stitch - and he takes the reins here on an almost shot-for-shot adaptation. DeBlois became the custodian of the franchise, directing both sequels, and he handles the live-action adaptation with care. Also crossing over successfully is actor Gerard Butler, reprising his role as booming Viking chief, Stoick.
So the stage is set for something undeniably familiar, particularly as John Powell’s lovely score also returns to put the wind beneath the beasts wings. But there’s no denying the fact that HTTYD is one of the more apt sources for a live-action film, with its human protagonists, potential for action spectacle, and, obviously, the dragons. Toothless is once again the standout - delightful in any medium - and he’s also made the transition with barely any changes (he’s basically identical, save for some higher-definition scales).
The young leads are likeable: Mason Thames (The Black Phone) has Hiccup’s nasal croak down pat, while Nico Parker brings feist as his dragon-school rival Astrid. Nick Frost is a perfect fit a Gobber, who leads the training of the island’s youths; he slots in as conveniently as one of Gobber’s detachable appendages. Hiccup and Astrid’s brace of goofy classmates, however, prove much more irritating in live action.
Where this version really, ahem, soars are in the action sequences, two of which in particular are stunning in live-action. When Hiccup takes to the air during his training of Toothless - with the pair getting used to the new saddle, pedal and sail that have been fashioned to repair the Night Fury’s damaged tail fin - exploring the skies around Berk with vertiginous glee, it’s truly impressive. Similarly, the final act assault on the dragons’ nest and the ensuing battle with the alpha feels huge. There are no other moments from live-action remakes that can match these for cinematic scale. And even if you’ve seen it all before, it’s hard not to be moved again by the big emotional beats, too.
How to Train Your Dragon 2 has already been greenlit for a 2027 release, and you can only hope the team use the opportunity to diverge from the flight path in favour something a little fresher next time (and not just because the sequel was weaker to begin with). But for now, this ain’t-broke-don’t-fix-it take is a rare vindication for live-action adaps. (Matt Maytum)
IN SHORT: Will you revisit this over the animation in years to come? Probably not. Is it still impressive, emotional and highly enjoyable in live-action? You bet.
STAY FOR THE END CREDITS? There’s a tiny post-credits sting, but hardly worth hanging around for. It’s a second, not very exciting glimpse at an item you’ve already seen during the film.
CASTING CALL: If the sequel calls upon previous actors to reprise their roles, Butler-style, Cate Blanchett, Djimon Hounsou and Kit Harington could return for duty.
Tornado
15, in cinemas now
⭐⭐⭐☆☆
Though undoubtedly the windiest British period drama since Andrea Arnold’s Wuthering Heights (2011), the 18th-century-set Tornado is actually named for its lead character, the dancer daughter of a puppeteer (Takehiro Hira) whose travelling show draws the attention of a bandit gang led by Sugarman (Tim Roth). The theft of two bags of already-stolen gold sets the gang in dogged pursuit of Tornado (Japanese actor-model-musician Kōki), who unsheathes some handy martial-arts skills (dad used to be a swordsman). Part western, part samurai flick (cue the squirty squibs), John Maclean’s Slow West (2015) follow-up is essentially a revenge movie, albeit one that goes easy on the rip-roaring. The non-linear structure delivers big, brutal bookends, but a middle section that’s mostly vibes, the story meandering at times as much as the perennially on-foot characters. Lensed across a series of impressively desolate Edinburgh locations, it’s bleakly beautiful to look at, with hard-edged performances to match, from the pitiless Roth to the watchful, lethal Kōki. (Matthew Leyland)
TALENT SPOTTING Tornado’s eye-catching cast also includes Jack Lowden and Joanne Whalley, plus Slow West veterans Bryan Michael Mills and Rory McCann (best known, of course, as Game of Thrones’ Hound, but here less menacingly named Kitten).
Echo Valley
15, on Apple TV+ now
⭐⭐⭐☆☆
'How far would you go for your child?' is the question that drives this tense, tenebrous thriller from Beast director Michael Pearce and Mare of Eastown writer Brad Inglesby.
Julianne Moore stars as Kate, a horse trainer and riding instructor grieving the recent death of her wife. Adding to her troubles is daughter, Claire (Sydney Sweeney) – an addict who habitually shows up to empty Kate’s coffers as a precursor to another bender.
One night, Claire comes home covered in blood. She's killed her bad-news boyfriend and begs Kate to cover it up, which she dutifully does. But this morally compromising act of love has dire consequences for Kate when Claire’s dangerous dealer, Jackie (Domhnall Gleeson), comes calling.
As a throwback thriller, Echo Valley just about works. At its strongest in the early stretch, Inglesby’s economical script deftly establishes Peggy’s isolation and swirling paranoia as the truth becomes increasingly opaque. Moore is excellent as the harried mother, as is Sydney Sweeney – both at their best in a shocking early sequence where the depths of Claire's addiction are laid bare.
But as the twists pile up and the taut set-up gives way to credulity-stretching scheming, Echo Valley loses focus, with Claire simply disappearing for much of the back half. The obnoxious amount of Apple-branded product placement in this Apple original movie doesn’t help either, with iDevices popping up constantly and the ‘Find My’ app even figuring into the plot.
Still, Pearce delivers on the early promise he showed with Beast, staging a tremendously creepy lake excursion and visualising one brief drug trip in startlingly original fashion, with characters moving at different speeds in the same frame. Some things to recommend then, but this feels firmly at home on streaming. (Jordan Farley)
GIVING CREDIT Inglesby is behind another upcoming Apple Original, The Lost Bus (see Trailer Club below), which features the return of Matthew McConaughey to screens, and Paul Greengrass behind the camera. One to watch out for.
Protein
18, in select cinemas now (on digital from 14 July)
⭐⭐⭐☆☆
If you’d normally run a mile from low-budget Brit gangster films, hold up. There’s something a little more interesting going in Protein, from first-time filmmaker Tony Burke (adapting his own 2014 short). Out of the army but unable to offload his PTSD, taciturn Sion (Craig Russell) is a drifter who finds himself in a run-down, crime-burdened Welsh town. Working out at a cheap local gym, he’s given some casual work by manager Katrina (Kezia Burrows, terrific), and tensions flare with the toxic meatheads who also spend their afternoons there. Antihero Sion’s bloody vigilantism provides him with a stomach food source (it’s enough to put you off protein shakes for life), as well as inadvertently escalating a war between gangs. Russell is compelling as the mostly silent, inscrutable protagonist, and there’s some decent character work done by the committed supporting ensemble. Protein has its limitations, and its tonal juxtapositions don’t always work, but it frequently punches above its weight (or should that be benches above its one-rep max?) and provides a fair bit to chew on. (Matt Maytum)
SOAPER STAR: It wouldn’t be a Brit crime thriller withouth a cast member you recognise from EastEnders. Here it’s Richard Ellis, who played Huw from 1996-1999.
Jane Austen Wrecked My Life
15, in cinemas now
⭐⭐⭐☆☆
Does aspiring novelist Agathe (Camille Rutherford) have imposter syndrome? “No, I’m a genuine imposter!” There are a handful of similarly sharp lines in Laura Piani’s romcom, alleviating the feeling that the film itself is a bit of a copycat, coming on like a French twist on Bridget Jones’ singleton adventures. Paris bookshop worker Agathe is unexpectedly invited across the Channel to the Jane Austen Writers’ Residency. Leaving behind best-friend-but-maybe-more Félix (Pablo Pauly), she quickly falls in loathe with stuck-up lecturer (and distant descendent of Jane Austen) Oliver (Charlie Anson), whose distinctly Hugh Grant-ish air (seriously, he could be related to him as well as Jane) nonetheless fosters undeniable chemistry. The love-triangle trajectory is well-worn, but played out with droll charm (and the odd well-timed pratfall) by the three leads. As well as our Bridge, Agathe’s quarter-life crisis also echoes The Worst Person in the World - this is soufflé-light compared with that Oscar nominee, but briskly engaging all the same. (Matthew Leyland)
FAMILY HISTORY Talking of famous relations, there’s a small but warm role for veteran Brit actor Liz Crowther - daughter of UK Price is Right host Leslie.
Trailer Club
In this fuller look at Ari Aster’s Eddington, set in 2020, the miseries of Covid protocols come flooding back, from enforced six-foot distances to drive-by nose-swabbings. The comedy-thriller-western - which debuted in Cannes this year - sees Joaquin Phoenix’s sheriff facing off with Pedro Pascal’s mayor in the titular New Mexico town, which leads to all kinds of (often live-streamed) chaos. You also get glimpses at co-stars Emma Stone as the sheriff’s wife and Austin Butler as a sleazy guru. It’s been described as the cinematic equivalent of a doomscroll, and if you like the sound of that, it hits UK cinemas on 22 August. (MM)
Another trailer for James Gunn’s Superman offers more Lex, more kaiju and more action (and quips) from new Kal-El, David Corenswet…
Eddie Murphy, Pete Davidson and Keke Palmer are on route to deliver the goods in Prime Video’s action-comedy, The Pickup…
Molly Gordon has an unusual way of holding her ideal guy’s attention in the darkly comic trailer for Oh, Hi!, which opens in the US this summer…
The promising second trailer for Marvel Television’s Ironheart sees Riri Williams (Dominique Thorne) breaking herself down to see what she’s made of…
Body-swapping shenanigans continue in Freakier Friday, though it’s harder to keep track of the four-way switch-up (in the trailer, at least)...
Paul Greengrass’ latest true-life thriller stars Matthew McConaughey as a bus driver trying to save a group of children from a wildfire. All aboard The Lost Bus…
Young siblings enter a literal dream-world in the first teaser for Netflix animation, In Your Dreams…
On the Wingman office stereo…
RIP Brian Wilson, whose songs lit up many a soundtrack. Striking a particularly poignant chord, you’ll remember this one featuring in 2003’s Love Actually - though its finest use is perhaps in Sarah Polley starrer My Life Without Me (same year, actually).
I watched straw on Netflix this weekend and thought it was excellent
Did any of you watch Deep Cover which released on Prime this weekend? It will not make any top 10 lists at the end of the year but thought the very good cast make the most of the material. Surprised to see it was written and produced by Colin Treverrow.