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THE HAND THAT ROCKS THE CRADLE Starring: Maika Monroe, Mary Elizabeth Winstead, Raúl Castillo, Martin Starr, and Milejah Vega Director: Michelle Garza Cervera PAIGE Let it be known that this remake is completely different from the original 1992 flick. I give it credit for trying to do its own thing, but 2025's The Hand That Rocks the Cradle is a very underwhelming film. It doesn’t come nearly as close to being as cringeworthy and thrilling as the OG version. This movie lacks depth and suspense, and its pacing is extremely sluggish. Maika Monroe and Mary Elizabeth Winstead are easily the best things in this streaming movie, as they are the only thing that keeps this movie somewhat afloat. Without them and their performances, there isn’t much to grasp onto here. KATIE I haven't seen the original The Hand That Rocks the Cradle , so I had nothing to really compare this remake to. It initially has some momentum and a good sense of tension, but it's too long and predictable. As is often the case in these types of films, the husband character is unfathomably imperceptive and unsupportive of his partner, which is necessary for the plot, but frustratingly so. Mary Elizabeth Winstead's and Maika Monroe’s performances are great, particularly Monroe, who is very unnerving and intense as the sinister nanny. However, aside from that, I found it unfortunately tedious. ROBERT I had a preconceived notion about The Hand That Rocks the Cradle and the ensuing conflict: I assumed Maika Monroe’s Polly was just a crazy stalker. Praise should be heaped upon director Michelle Garza Cervera and the writers for recognizing how to build out three acts to sow real discontent between Polly and Mary Elizabeth Winstead’s Caitlin that is surprising. Despite that strong base, everything else around it is a rickety house of cards, with mood and tonal shifts per scene that could cause whiplash, wooden supporting characters, and nothing but idiotic decisions to drive us to the conclusion. In the end, it all falls down. NICK I’ve never seen the original The Hand That Rocks the Cradle , so I don’t know if it's as slow a burn as this one, but this film really takes its time to get going. Maika Monroe and Mary Elizabeth Winstead (often underused actors) give solid showings, but the story they're working with feels half-baked, and honestly, lacks teeth. Had this embraced the apparent campiness of the original more, it could have been fun, but it all just feels unnecessarily dour. In the end, this remake is a fairly forgettable film that is bound to be lost in a sea of better offerings.

THE OLD WAY Starring: Nicolas Cage, Ryan Kiera Armstrong, Noah Le Gros, Clint Howard, Shiloh Fernandez, Nick Searcy, and Abraham Benrubi Director: Brett Donowho QUENTIN As far as westerns go, The Old Way is nothing remarkable, playing out like a dime store True Grit knockoff, but it’s not a total loss. Tonally, it’s kinda weird, randomly bouncing from jaunty to menacing, an issue made even more noticeable by the conflicting musical choices. However, the performances, while not career-making, are better than what a straight-to-VOD movie in January deserves, and the chemistry between Nic Cage and Ryan Kiera Armstrong carries the movie enough to make it a decent, if forgettable, watch. All that said, it admittedly feels like a movie left over from before Cage’s comeback. DARRYL The Old Way delivers nothing new or exciting, nor does it elevate the Western genre in any meaningful way. It’s a rote story that fails to take any risks or deviate from its straightforward storytelling, making the 95-minute runtime a sweet blessing. It’s also hindered by a hammy screenplay that borrows from some of the greats without adding its own flavor, which makes for a clichéd by-the-numbers story that was a dime a dozen in the 1950s. In a role unsuited to his talents, Nic Cage’s wooden performance is only slightly balanced by the gleeful nature of Noah Le Gros’.

JOHN WICK: CHAPTER FOUR Starring: Keanu Reeves, Donnie Yen, Bill Skarsgård, Laurence Fishburne, Lance Reddick, Ian McShane, Shamier Anderson, and Hiroyuki Sanada Director: Chad Stahelski NICK With this being the fourth entry in the franchise, you know what you're going to get from a John Wick film: minimal, almost robotic dialogue from Keanu Reeves, top-notch fight choreography, and a high body count. Bingo. Beyond that, you get the series’ best cinematography yet (including some incredible aerial and tracking shots) and a magnetic performance from Donnie Yen. The build-up is a little slow (yet deliberate), but once it kicks into gear, it’s a non-stop barrage of exceptionally high-octane action. Add in some jaw-dropping set pieces, and there’s no doubt, The Baba Yaga is back. JACOB If you’re a fan of the John Wick franchise, Chapter 4 is more than enough of what you want. The stunt work, cinematography, and sheer number of action sequences keeping the film feeling like two hours (as opposed to three) are likely to thrill audiences looking for an entertaining time in theaters. That said, the film does have its drawback: namely, there’s less story here than in any previous films, and it does overindulge itself on the action quite a bit, with some sequences long overstaying their welcome. Still, those sequences are flawlessly choreographed, and Keanu Reeves remains impossibly watchable. AMARÚ Laurence Fishburne perfectly encapsulates Chapter 4 two minutes into the film, proclaiming that “you are now in the presence of the motherf*****g KING.” The action, cinematography, and world-building are the series’ most epic, and the supporting cast (Clancy Brown, Shamier Anderson, Hiroyuki Sanada, Bill Skarsgard) bring the best balance of badassery and emotional resonance since the original. But it’s Donnie Yen that’s the MVP, forgoing the strong, silent archetype for his most charming stateside performance since Rogue One . Pairing Yen and this cast with Keanu Reeves’ titular character delivers the pinnacle example of this action genre royalty. QUENTIN If all you want from a John Wick movie is over-choreographed, neon-soaked gunfights with hordes of faceless henchmen, Chapter 4 more than delivers. It’s action-packed and entertaining, if not a bit exhausting. That said, I would have liked to see director Chad Stahelski take a creative step forward instead of just giving us more of the same. Donnie Yen adds some interesting spice as a blind badass, and there is an overhead tracking shot that might be the best sequence of the franchise, but some creative kills with outside the box weaponry, as well as a truly formidable antagonist, could have made for a better film. ADRIANO The John Wick franchise is a special one that has elevated the action genre to whole new levels, and even still, Chapter 4 is leaps and bounds better than the first three films. Storytelling isn’t anything to write home about other than the way they deepen the universe’s mythology, but the action sequences are mind blowing. The choreography is insane, incorporating techniques that feel like nothing I’ve seen before, and every single moment of this movie is shot incredibly by cinematographer Dan Lausten. If this is the standard the franchise now has to live up to, I can’t wait for what’s to come. DARRYL Chapter 4 not only makes for the best entry in the franchise thus far, but one of the best action movies of the last decade. Director Chad Stahelski's dedication to the genre pays off, as he delivers a nonstop thrill ride that will leave audiences just as exhausted as the character. Keanu Reeves once again brings a touch of heart to John Wick, making it impossible for viewers not to root for him as he scrapes to survive every known assassin in the world. With a number of dynamite action scenes set on lavishly produced sets, this is a must see on the biggest screen. PAIGE Chapter 4 is a masterclass in how a kickass action flick should be executed. The team behind the film delivers flawless stunt choreography, stunning camera work, and breathtaking cinematography. While it may not have the strongest story of the franchise, there's no denying that this installment is an exhilarating thrill ride from beginning to end with an exponential death count. I admit it’s a tad bit long with a nearly 3-hour runtime, but it makes use of it with massive action set pieces and incredible fight sequences. I’m honestly convinced that Keanu Reeves isn’t even an actor anymore, but an actual certified badass assassin.

ELEMENTAL Starring: Leah Lewis, Mamoudou Athie, Ronnie Del Carmen, Shila Ommi, Wendi McLendon-Covey, Catherine O’Hara, Mason Wertheimer, Joe Pera, and Matt Yang King Director: Peter Sohn ADRIANO Pixar has set a high bar, but even with that in mind, Elemental is mid-tier Pixar. Don’t get me wrong, it’s a funny and endearing film that will charm audiences, but it’s also got some too-on-the-nose messages about racism and generational gaps in families that are addressed in a way that doesn’t feel fleshed out. The central romance, while cute, just didn’t work for me, and is a little rushed. In certain moments, it felt like it was trying to be Pixar “The Brand” over its own movie, which also didn’t work. It’s not an experience I regret, but it’s nothing I’ll ever watch again either. AMARÚ Elemental is an all-around beautiful movie. The myriad of ways it visually mixes the elements is delightful, but it’s the story’s heart that makes it moving. At its core, it’s a touching immigrant story interweaved seamlessly with multilayered themes of love, tolerance, intolerance, and the weight of family legacy. Early on, some of the characterizations are a bit overcooked, but this sets up an emotionally poignant payoff by the film's end. Elemental is a heartwarming addition to the Pixar filmography, and one of its better outings in recent years. JACOB Elemental is here to remind us of the great potential Pixar still has to make quality animated entertainment…and the commitment they continue to have in not living up to that potential. Don’t get me wrong, the film works fine, and the designs are some of their most creative in years; however, the problem is that the story is told in its most conventional form, rarely deigning to actually explore the world it occupies. There are some unique visuals and it does boast one of Pixar’s better scores in years, but overall, this one remains on the higher end of average.

BANDIT Starring: Josh Duhamel, Mel Gibson, Elisha Cuthbert, and Nestor Carbonell Director: Allan Ungar NICK Bandit is a film of a bygone era. The kind of movie you rented from Blockbuster on a whim to entertain yourself for about two hours. It isn’t particularly special or memorable, but Josh Duhamel is entertaining in the role, and the script has a nice mix of goofy and clever dialogue. I can’t say it does the true story of The Flying Bandit justice, but this isn’t a documentary. Bandit doesn’t try to be more than it is, but if you want the comfort of going back to a time when you popped a fresh VHS tape into your VCR, you could do worse. QUENTIN Despite its caper-ish vibe and a disarming Josh Duhamel, Bandit is mostly a boring tale about a guy trying to have a family. Yes, the guy happens to rob banks, but all the fun genre tropes are missing. There are no cool planning montages, tense moments with his mob boss partner, or cat-and-mouse games with authorities. I’m sure the actual story of Canada’s most notorious bank robber (he robbed a record 59 banks and jewelry stores) is probably interesting, but Bandit fails to capture that. Also, one lengthy sequence uses Yello’s “Oh Yeah” (the “Bow bow…Ohhhh yeah...Chickachickaaaa” song), which comes across as laughably dated.

THE PICKUP Starring: Eddie Murphy, Pete Davidson, Keke Palmer, Joe “Roman Reigns” Anoa'i, Eva Longoria, Marshawn Lynch, Jack Kesy, Andrew Dice Clay, and Ismael Cruz Cordova Director: Tim Story KATIE The Pickup has the ingredients for an entertaining comedy, but it ultimately falls flat. Eddie Murphy and Pete Davidson have the potential to be an effective comedic pairing, but Davidson just can't work with the material and isn't funny. Even Eddie Murphy’s comedic talents, which shine through now and then, cannot overcome the unimaginative script. The action isn't engaging or creative, and the choppy editing gives the overlong car chases a very disjointed feel. Even at just over 90 minutes runtime, the plot is needlessly convoluted, and it feels twenty minutes too long. AMARÚ I’ll give props to The Pickup for the couple of practical stunts they pulled off during an early chase scene. But that’s about all the love I can throw its way, especially when they give charismatic actors like Keke Palmer and Eddie Murphy (Pete Davidson is also there) nothing more than ADR’d exclamations for a script. The story (if you can call it that), the editing (if you can stay with it), and the action (if you can stay awake during it) are all hodgepodged together in a convoluted mess of wasted potential. Eva Longoria was a fun side character though, so there’s that. QUENTIN Aside from a nifty sequence using dye packets during a car chase, The Pickup doesn’t have much else going for it, which is wild when you consider the hilarious talent involved. Everyone on screen, from Eddie Murphy to Marshawn Lynch, has shown their comedy bonafides at one point or another, but it’s almost like they all forgot how to be funny. I get that the lazy script is what it is, being convoluted on top of being unfunny, but you’d think the cast's natural abilities would shine through at least a little bit. But nope. Instead, we get an action-comedy that is the definition of forgettable.

FLY ME TO THE MOON Starring: Scarlett Johansson, Channing Tatum, Jim Rash, Anna Garcia, Donald Elise Watkins, Noah Robbins, Colin Woodell, Christian Zuber, Nick Dillenburg, Ray Romano, and Woody Harrelson Director: Greg Berlanti AMARÚ Fly Me to the Moon is the first purely entertaining film I’ve seen in a while. No stakes, no problems, no drama…well, a little drama…but just enough to take the vibes slightly seriously. That’s what this film is: a mix of rom-com vibes, historical biopic storylines, and predictable satirical twists, which, in all seriousness, could’ve easily failed. But, with Channing Tatum and Scarlett Johansson’s charm, Woody Harrelson’s cheekiness, and a heartfelt supporting cast, led by CW legend Greg Berlanti directing fluff in his ever-enjoyable way, the perfect personnel were assembled to keep this too-long, thinly plotted film working in all the ways it needed to. ADRIANO Fly Me to the Moon will probably reach its intended audience of middle-aged moms, but considering I'm not 55 years old, I thought this movie was subpar. It’s not endearing or romantic enough to pass as a rom-com, and as revisionist history, it’s uninteresting, strangely convoluted, and way too long. Any laugh I got out of this was from Ray Romano's delivery (pretty big laughs, in fairness). Scarlett Johansson is serviceable, but Channing Tatum is very stilted; I didn't buy their romance at all. Fly Me to the Moon is harmless and silly overall, but I’ve forgotten most of it already. KATIE I was disappointed by Fly Me to the Moon . With the promise of a rom-com starring Scarlett Johansson and Channing Tatum, I expected irresistible chemistry, playful banter, and plenty of laughs. However, their characters, Kelly and Cole, don’t even seem to really like each other, which is a shame because Johansson’s performance is charismatic and fun. Tatum, on the other hand, lacks the light-heartedness necessary to make their dynamic work. It’s also too long, veering from romance to attempts at comedy to emotional drama, never settling on what it wants to be. PRESTON Playing on one of the most widely-held conspiracy beliefs that the televised moon landing was an elaborate government production, Fly Me to the Moon provides enough cleverness in its rom-com format to be an entertaining jaunt to the theater. Although a slow-starter and a bit too long, it still builds appropriately with enough competent pacing to endear the audience to its characters. Scarlett Johansson carries the flick nicely, while Woody Harrelson provides the saucy pop we have come to love him for. Incidentally, Channing Tatum and a cat also star in the film. SHADAN As a Houstonian, I will always be biased toward space-race flicks, but I was admittedly surprised by just how much I enjoyed Fly Me to the Moon . While nothing about the film is outwardly spectacular, the pieces fit together to form a charming, breezy few hours of harmless fun. While I wanted more from the romance between Scarlett Johansson and Channing Tatum, their mere presence here is a delight that further elevates the film to recommendable heights. A perfectly fine time at the movies.

DON'T LOOK UP Starring: Leonardo DiCaprio, Jennifer Lawrence, Rob Morgan, Jonah Hill, Meryl Streep, Cate Blanchett, Tyler Perry, Mark Rylance, Timothée Chalamet, Himesh Patel, Melanie Lynskey, Ron Perlman, Ariana Grande, and Scott Mescudi Director: Adam McKay PAIGE Director Adam McKay's latest film, Don’t Look Up , is a political satire that speaks volumes to today’s society and media outlets. It’s kinda scary just how true to life some of the behavior is portrayed in this film. It’s a brutally dark comedy with a star-studded cast that gives soaring performances, but the overall story crashed for me. Some odd editing choices and a runtime that is truly to the film’s detriment stopped the movie from being as good as it should have been. That said, while it’s not always smooth sailing, there is more here to like than not. ADRIANO Don’t Look Up is a fun, yet very sickening movie (in a good way). As a fan of writer/director Adam McKay, this is undoubtedly his best film, as it perfectly blends his comedic and dramatic sensibilities. Overall, it lacks subtlety, but for a film subject with this much urgency, I’m able to let that slide. The cast is one for the ages, with Leonardo DiCaprio and Mark Rylance standing out, and as funny as the film is, the final act is both powerful and effective in its execution. It’s the rare film where it’s important that everyone sees it. JACOB Not quite as accomplished as The Big Short , but less condescending than Vice , writer/director Adam McKay’s Don’t Look Up lands somewhere between the two, quality-wise. Its first act is fairly messy, marred by some bizarre editing choices, but eventually it settles into the story at hand. What ultimately keeps it from soaring is that it works much better as a doomsday horror than as a comedy, but keeps skirting the former to focus on the latter…and it’s rather unsubtle about it. There are funny moments and the performances are good, but it’s the film’s terrifying finale that shines. QUENTIN Some satires require separation from the events being skewered and a certain level of viewer ignorance to really work. Otherwise, you lose the revelatory absurdity driving the humor. Don’t Look Up is one such satire. That’s not to say it’s a bad movie. It features great performances and is generally enjoyable despite several unnecessary subplots, some jarring edits, and an overlong runtime. However, the jokes are so true-to-life that they aren’t particularly witty. It simply can’t match the tomfuckery of what has actually been happening the past few years, which mostly results in the opposite of “funny because it’s true.”

NAPOLEON Starring: Joaquin Phoenix, Vanessa Kirby, Tahar Rahim, Youssef Kerkour, Matthew Needham, Ben Miles, Anna Mawn, and Mark Bonnar Director: Ridley Scott AMARÚ There are a laughable amount of times throughout Napoleon when the titular figure (Joaquin Phoenix) waves his hands, covers his ears, and fires upon unsuspecting enemies. That’s what I imagine director Ridley Scott did when he shot one uninteresting political spat after arbitrary military battle after childish lovers’ quarrel. Maybe the point was to utilize the movie’s throughline, namely the French General’s longtime love of Josephine (a forceful Vanessa Kirby), to highlight his petulance and carelessness, but it also made the film tedious and facetious. If I wanted to watch a frivolous retelling of history, I would’ve watched an episode of Drunk History. PRESTON “A watched pot never boils” - Taunting Grandma. I guess it was my fault for wearing my watch to Napoleon , but the film was simply a slog. Its faults don’t lie in the amazing performances or the stunning battle scenes, but in the surprising lack of character development. Yes, Napoleon’s (Joaquin Phoenix) history is ubiquitously known, but with such an intense focus on his love interest Josephine (Vanessa Kirby), it might have been nice to get to know her better. Instead, we jump from one historical moment to the next with little depth in storytelling. ADRIANO Director Ridley Scott has always been an inconsistent filmmaker, but even with that knowledge, Napoleon is a painful movie to sit through. While some of the battle sequences are cool, this film is so unfocused that it feels like it was chopped into pieces and Frankenstein'd into an ugly, disengaging monstrosity. The only person more bored than I was watching this movie was Joaquin Phoenix while filming it. It’s truly the product of a filmmaker whose head is so far up his own ass that he acts on his first impulses, even when they're awful. One of Scott's absolute worst. CALEB Director Ridley Scott’s Napoleon feels unfocused, tackling far too much subject matter for one narrative. A movie solely dedicated to the relationship between Napoleon (Joaquin Phoenix) and Josephine (Vanessa Kirby) could be fascinating, but Napoleon never fully commits to this one topic. The film simultaneously attempts to cover Napoleon’s love life, his extensive military history, and his political career, sprinting through his life at a break-neck pace. I can admire the jaw-dropping battle sequences, but these moments lack the context needed to truly feel epic. Despite the lengthy runtime, Napoleon ultimately feels too short for its own good (no pun intended). QUENTIN Napoleon is both an overlong slog and a Cliffs Notes-level telling of the titular figure’s life. Despite some decent battle sequences, it feels like director Ridley Scott lost interest about halfway through production because there are moments that are laughably bad and incredibly lazy (don’t get me started on the accents). Granted, there are rumors of a four-hour Director’s Cut, so maybe this is Apple’s fault, but the theatrical version is a messy disaster that crams too much story into its 157-minute runtime. None of the blame falls at the feet of Joaquin Phoenix or Vanessa Kirby, though (Kirby is flat-out wasted), so there’s that.

A WORKING MAN Starring: Jason Statham, David Harbour, Michael Peña, Jason Flemyng, Arianna Rivas, Emmett J. Scanlan, Eve Mauro, Maximilian Osinski, Max Croes, and Isla Gie Director: David Ayer QUENTIN Although a moderately entertaining action throwback, A Working Man does very little to stand out amongst similar fare like Man on Fire and Taken . That’s not to say it’s awful, just that it’s exactly what you’d expect from “the new Jason Statham movie,” which is to say watching quiet stretches of barely serviceable acting and convoluted-yet-somehow-still-thin story while waiting for Statham to loudly kick some ass. Also, I don’t know what kind of drugs the costume designer was on, but I’ve never seen more hilariously caricature-ish wardrobe choices for the Russian mob (I mean that as a compliment); it must have been the good stuff. AMARÚ After The Beekeeper , I’ll give any Jason Statham revenge flick a chance. However, unlike their first go ‘round, director David Ayer and Statham’s latest collaboration, A Working Man , takes itself too seriously. Instead of laughing with the ridiculous characters and dialogue, I rolled my eyes at them. They do give Statham’s character more emotional depth this time, and while it develops rapport between him and his daughter (Isla Gie), it is as poorly executed as most of the film. The action is hard to see, the story is plot-hole ridden, and although cathartic vibes can be felt periodically, the film is over-edited, overly dramatic, and overwrought. ADRIANO When A Working Man commits to its concept of being a meat-head film with Jason Statham being a one-man army, it's hard not to enjoy. That said, the whole movie's manufactured patriotism makes its anti-human trafficking thing feel fake. I can forgive films like this for not having one sentence sound real, but I can't ignore the plot full of nonsense that just leads to one stereotype after the next. It's also possible that Director/Co-Writer David Ayer and Statham's collaborations don't work for me, as I despised The Beekeeper more than most, and this one is another miss. BODE In A Working Man , director David Ayer, in his second collaboration with star Jason Statham following The Beekeeper , attempts to mix some of that film’s pleasurable insanity with the seriousness that the very real subject of human trafficking allows (making it the second time co-writer/co-producer Sylvester Stallone has tackled it, following Rambo: Last Blood ). Predictably, it’s a baffling mess, contradicting itself as it goes (especially in its almost pandering bouts at patriotism). I can’t deny that I got some enjoyment out of it however, especially in its final 20 minutes, where it truly lets loose. Fascinatingly unhinged.

DEEP COVER Starring: Orlando Bloom, Bryce Dallas Howard, Nick Mohammed, Sean Bean, Paddy Considine, Ian McShane, Sonoya Mizuno, and Omid Djalili Director: Tom Kingsley KATIE Deep Cover is a charming indie comedy that delivers genuine laughs. The film plays with crime-drama tropes in a way that’s clever and funny, and makes excellent use of serious actors who are known for being tough and threatening characters, namely Sean Bean, Paddy Considine, and Ian McShane, who play on their personas to a hilariously goofy effect. Plus, Orlando Bloom, Bryce Dallas Howard, and Nick Mohammed make a very likeable trio who bounce off each other wonderfully, all perfectly understanding the brand of comedy the film calls for. QUENTIN Deep Cover , which feels like a movie I’ve seen before even if I can't recall what specific movie it reminds me of, works surprisingly well, with all credit going to the committed cast. Orlando Bloom is the highlight, but the comedic chemistry of the lead trio (Bloom, Bryce Dallas Howard, Nick Mohammed), not to mention excellently done supporting roles from veteran actors like Paddy Considine, Sean Bean, and Ian McShane, just prove how far you can get on the backs of talented performers even if the script leaves a feeling of déjà vu. It's a shame most people probably haven’t heard of this one.

HOW TO TRAIN YOUR DRAGON Starring: Mason Thames, Gerard Butler, Nico Parker, Nick Frost, Gabriel Howell, Julian Dennison, Bronwyn James, and Harry Trevaldwyn Director: Dean DeBlois AMARÚ Having seen the original countless times, it’s hard to judge this remake strictly on its own merit since I knew what was coming. But I do envy those who haven’t seen the animated version, because they are in for a blast. The visuals are even more breathtaking in live-action, the story beats still hit hard, and it’s really good to see Gerard Butler embody Stoic as well as he voiced him. But truly, this film came down to whether Mason Thames could deliver his own version of Hiccup without feeling like a shell of Jay Baruchel. Well, kudos to him, because deliver he did. ADRIANO I'm sure I'd be hotter on How To Train Your Dragon if a much better version didn't already exist. The acting is serviceable, and the sets are solid recreations. Some of the cinematography looks rough, while some sequences look great. But this movie is more egregious than even Disney's live-action remakes (for the most part) with its shot-for-shot adaptation. Director Dean DeBlois returning does give it more heart and weight than, let’s say, Lilo & Stitch 's recent lifeless debacle. But I can't in good faith give this movie credit for what amounts to the strengths of another movie. NICK As someone who has never seen the original How to Train Your Dragon (I have a bit of a DreamWorks blind spot), I enjoyed my first trip to Berk. The world-building is fresh, the characters are endearing, and I liked its focus on various relationships (Hiccup and Toothless are the focus, but there are many others such as Hiccup/Astrid and Hiccup/Stoick). I'm not as negative on these "shot-for-shot" remakes in a new medium as others are, as I believe they help these stories reach new eyes. It’s just a matter of whether they maintain the soul of the original which this one seems to do.