REVIEW COLLECTION: DreamWorks Animation Filmography, Part 4 (Second Edition)

(Source: YouTube) 

[The following was originally posted on March 20, 2026; May 29, 2026; and July 24, 2026. Additional reviews include original posting dates in brackets.] 

How to Train Your Dragon: The Hidden World (2019) 

Following the release of How to Train Your Dragon in 2010, co-writer/-director Dean DeBlois stepped up to continue the CG franchise, but on the condition that it be nothing more than three films. As Matt Reeves did with the rebooted Planet of the Apes sequels, DeBlois and the artists at DreamWorks really took their time and capped off their ever-popular (and exceptional) series with what is arguably the best third entry in an animated trilogy since Pixar’s Toy Story 3. The Hidden World marks the first DreamWorks Animation release under the company’s new partnership with Universal, and their first since Madagascar to be affiliated with the studio while in their early years as an independent company. It was also the debut of an updated (painterly) company logo. 

Set one year after the events of the 2014 sequel, the village of Berk is livelier than ever, full of color, confetti, and new creatures of all shapes and sizes. In fact, the dragon population grows as much as (if not more than) the human population, challenging current chief Hiccup (voiced by Jay Baruchel) as to whether a new home should be found for everybody or not. Soon, Hiccup's Night Fury dragon Toothless falls head over heels for a bright-colored female counterpart—a Light Fury—who also happens to be very quiet and aggressive (recalling EVE from WALL-E). Things get complicated and intense when Berk is threatened by a new villain (voiced by F. Murray Abraham a.k.a. Salieri in Amadeus), who wants nothing more than to bring all dragons to extinction, as the people of Berk search for the titular lair that supposedly exists at the edge of the world. Like Drago Bludvist, characters are warned not to underestimate the conniving Grimmel, who clearly has a misguided sense of “peace.” 

The attention to detail in the animation is phenomenal, particularly the surface texture of the dragon-skinned armor (and other fireproof gear). Ditto fire effects, lighting, scale, photorealism, and flying suits. How to Train Your Dragon: The Hidden World lends itself to some creative filmmaking, including an opening sequence that features an impressive long take. The set pieces are incredible. The sights are wonderful. The action and drama are scary and intense, with fierce creatures, massive destruction, and flight chases. The species romance and pantomime comedy between Toothless and the Light Fury is delightful and cute. Likewise, the music by returning composer John Powell is astounding and ethereal. Talk about going big and going home. 

More than that, the film has a captivating narrative about the struggle in letting things go. Characters have numerous discussions about marriage, leadership (“You're supposed to be the generation that leads us into the future,” Craig Ferguson’s Viking Gobber tells our young heroes), what are the right ways to keep a community together, and what is best for everyone (“Berk is wherever we go”). (Two DW short films, centered around some of these same themes, are featured on the DVD and Bluray releases, including the CGI Bilby and the hand-drawn Bird Karma.) 

The Hidden World also benefits from flashbacks involving Hiccup’s father Stoik (voiced by Gerard Butler). This partly represents not only the power of familial and relational love (“With love comes loss”), but stories of old passed down generations as well. It also shows how far these characters have come and where they're going to go (or could go), even if/when they make unexpected choices and sacrifices. (In fairness, I do think the film kind of plays it safe on this point.) But it is an emotional journey nonetheless, displaying echoes of eternity, and hopes for a better and more united world. This Dragon is a bittersweet but grand finale, filled with tears and soars. 

Abominable (2019) 

The end of the 2010s saw a period where yetis were center stage in a few animated movies, including Warner Animation Group’s Smallfoot and Laika’s Missing Link. In that same group was Abominable, a collaboration between DreamWorks Animation and the Shanghai-based studio Pearl. It tells the story of a young Chinese girl who discovers and befriends a giant, fury, childlike creature on her rooftop in Shanghai, and goes on an unlikely journey to the Himalayas (with friends reluctantly in tow) to bring the beast back to his home. 

The film’s cast of characters is led by Yi (voiced by Chloe Bennett, known for Agents of Shield). As a young woman struggling to move on from her father’s unexpected passing, the only thing Yi really holds onto is a dream they had of taking a trip to the places they’ve always wanted to go. (She takes on odd jobs to raise enough money for it.) She’s joined on her aforementioned journey by her shallow friend Jin (voiced by Tenzing Norgay Trainor), whose obsession with attention and good looks is a good example of easy/privileged lives versus hard ones. With his younger, more eager, and daring brother Peng (voiced by Albert Tsai), Jin is forced to go out into the wild against his own will. All three and their giant new friend, named Everest, are pursued by agents and scientists who only plan to exploit and profit off of the white-furried yeti. More accurately, one particular businessman (voiced by Eddie Izzard) wants proof from an expedition he made years before. 

Directors Jill Culton (a veteran of the studio, as well as Sony Pictures Animation) and Todd Wilderman follow a familiar protagonist-and-his-/her-creature story, as seen in previous films like How to Train Your Dragon and the live-action Bumblebee. The animation style is similar to Blue Sky's Spies in Disguise (released the same year). What makes Abominable different, along with the unexpected detours its story takes, is its cultural representation (a majority of its voice cast and characters are of Asian descent), and its engaging story of lonely, vulnerable hideaways. Add to that colorful art direction, exciting chase sequences, and visual metaphors of tears and rain (Blade Runner, anyone?), as well as stars in the sky (“Even though we can’t see them, we’ll still know they’re there”). 

The DVD/Bluray releases include the 2019 DW short, Marooned, a sci-fi tale about a robot stranded on the moon, trying to get back to Earth, and who finds and repairs a baby bot. The short includes themes of parenthood and sacrificial choices, transitioning from amusing to profound seamlessly. The same applies to Abominable, which is also noteworthy for its subversive portrayals of supposed antagonists—some, misguided; others, deceptive. “I'm so used to looking down,” says one such character (who ends up having a redemptive arc), “I see how amazing it is to look up.” 

There are references to Buddhism, but mostly (and briefly) in statue form. But the main sources of spiritual content throughout this story come from two places. One is from Everest himself, who can create anything from giant blueberries and dandelions, to massive fields/waves of flowers, leaving his newfound friends to wonder how he does all this. The other place comes from music (courtesy composer Harry Gregson-Williams), with Yi’s violin-playing as both a literal and visceral form of magic. And, as a fan of their music myself, the use of the band Coldplay’s “Fix You” has never made me cry more than in this movie. The result is a heartwarming journey. 

Trolls World Tour (2020) 

Originally slated for a theatrical release but moved to on-demand in the wake of the 2020 COVID-19 pandemic, DW presented a colorful and entertaining sequel to one of their most popular franchises in recent years. The occasion also marked twenty-five years since the division was founded. And what better way to celebrate than with music? Not to mention more than one kind of road trip. 

Trolls World Tour expands the central village from the last movie (which consists primarily of pop songs) and presents other kingdoms that each represent different genres, including electronic, classical, country, and funk. The central conflict finds the leader of the hard rock nation, Queen Barb (voiced by Rachel Bloom), plotting to steal the strings of each kingdom and “unite”—excuse me, “rule”—everybody under rock'n'roll. Princess-turned-queen Poppy (voiced by Anna Kendrick, once again) thinks she can convince Barb to change her mind (a la Hiccup in How to Train Your Dragon 2) and goes on a long journey, with reluctant beau Branch (voiced by Justin Timberlake, also back) in tow. 

With returning director Walt Dohrn at the helm, and most of the same voice cast from the first movie, this second Trolls showcases bright animation and artistry (one such kingdom resembles a spaceship). Like its predecessor, the film has a stop-motion quality in its scrapbook-like artwork; you may think of gum drops and guitar strings differently after this. Timberlake also serves as the movie’s executive music producer (along with Ludwig Göransson). And the soundtrack's playlist has a wide range of everything from classical to jazz, K-pop, raggaeton, and yodeling, as well as various artists like Cyndi Lauper, Dee-Lite, and Ozzy Osbourne (the latter of whom voices one of the supporting characters). Rock trio Haim even has an earworm of a track over the credits. These elements collectively play into the backstory, history, and mythology of this animated world, showcasing themes of both unity and isolation, which turned out to be strangely relevant the year of the film's release. 

Along with the angst-ridden and bossy Barb, other new characters include Tiny Diamond (hilariously voiced by Kenan Thompson) and the horse-looking rancher Hickory (voiced by Sam Rockwell). Ditto music artists Kelly Clarkson (as country centaurette Delta Dawn), George Clinton and Mary J. Blige (as funk King Quincy and Queen Essence), and Anderson .Paak (as the latter’s teenage son, Prince D). What a voice cast! But it's the llama-looking Cooper (voiced by Ron Funches) who has one of the story's key subplots, as he sneaks away to find his own kind. 

Despite some predictable plot points, Trolls World Tour represents a creative and subversive way to highlight differences and unity within music. Sad sights of desolated kingdoms, as well as exposition and/or revelations about what really divided the troll nations, perhaps reflects a bit of music history itself. One highlight is one such lesson via hip-hop from the funk community. “Denying our differences,” we're told, “is denying the truth of who we are.” In fact, just about every character/nation has differing opinions about what “real music” is. Perhaps Poppy’s biggest discovery is that music has different forms of expression, and that we must value and embrace those differences. (“You don’t have to be just one thing.”) With themes of friendship, leadership, and listening to others more than oneself—not to mention redemptive arcs, character maturity, and a big finish—this is so brilliantly written and executed. I really liked this Trolls more than the first one. Rock on. 

The Croods: A New Age (2020) 

Sometimes, certain film productions come with ironic twists and turns. DreamWorks had been developing a sequel to their prehistoric family comedy, The Croods, since the first movie released in 2013. But changes in management (and studio partnership) put the anticipated follow-up on the shelf for a while, before it was put back into production. With director Joel Crawford leading a returning voice cast (Nicolas Cage, Emma Stone, Ryan Reynolds, Catherine Keener, and Clark Duke, as well as Cloris Leachman in her last screen credit), The Croods: A New Age followed the continuing adventures of the titular clan as they search around the world for a new place to call home. 

Opening with a backstory of travel companion Guy (voiced by Reynolds)—how he lost his family, why he held onto what they encouraged him to do, and how he met sloth pet/friend Belt—the Croods soon discover a wall (a la Over the Hedge) to what turns out to be an enclosed farming community to a family of three. This sets the stage for the Bettermans (“Emphasis on the better”), including patriarch Phil (voiced by Peter Dinklage), matriarch Hope (Leslie Mann), and daughter Dawn (Kelly Marie Tran). 

From an artistic standpoint, the farm is a bright, luscious set piece, full of flowers, insects, produce, and rivers. And food. Lots of food. (“Full feels weird.”) The movie is full of other colorful and dazzling sights, expanding the ever-growing and -changing world from the first movie. Select sequences involving diaries and “travel-logs” are presented in 2D animation. But A New Age is arguably funnier and more over-the-top than its predecessor, with witty action, comedy, and dialogue. (Witty intellectualism, if you will, even with scenes of subtitled gibberish and bananas, of all things.) One running gag involves chicken hybrids (and other creative creatures) getting hit in the eye with sticks and screaming like crazy. The movie also has some unexpected homages to rock culture of the 1980s—and, as I see it, action cartoon intros from that decade—while its soundtrack includes music by Tenacious D and Haim. 

Released during the 2020 COVID-19 pandemic, the movie strangely paralleled what the world was going through, with themes of survival versus conformity. Eep (voiced by Stone) is on the fence about having a life with Guy (both are otherwise smitten with and inseparable from each other) or staying with her family. Grug (Cage) is afraid of letting his oldest child go. Thunk (Duke) gets addicted to window staring (a reflection of people's obsessions with screen time). Meanwhile, the Bettermans try everything they can to (subtly) get rid of everybody--except for Guy, whom they try to get hitched with Dawn. Things get primitive (and literally heated) with culture shock and clashes about living in the wild (sleep piles) versus living in style (separate rooms in a luxurious, modern, and well-groomed lifestyle), as well as conflicting definitions of “home” and “tomorrow.” 

The Croods: A New Age exceeds any expectations of being a cheap installment. Like Illumination's recent franchise follow-ups, DreamWorks sure knows how to make effective sequels. Its character arcs are subversive and sincere, being more than cliches about love triangles, rivalries, and friendships. (Some are more about bonding than jealousy.) As such, the story takes its time with each character, revealing more connections than they realize, with entitled characters discovering and facing the outside world like they never have (what a wild climax!), acknowledging that emotional scars hurt more than physical ones, and recognizing the family they have, as imperfect and flawed as it is. As an added bonus, the Bluray/DVD release features the 2020 DW short, To: Gerard, a delightful story about a mailman—inspired by a magician as a child—who befriends a little girl. It's a wonderful, 7-minute piece about the moments and people we remember. 

Spirit Untamed (2021) 

By the late-2010's, DreamWorks had a partnership with streaming service Netflix to produce original TV projects (like Trollhunters, co-produced by Guillermo del Toro), and spinoffs of some of its franchises, including How to Train Your Dragon, Home, and Spirit. The latter (titled, Spirit Riding Free) is based on one of the studio's earliest, best, and most underrated entries, centered on the titular fierce, brave, and determined stallion. Nearly two decades after that hand-drawn epic (a rare gap between series installments), the studio presented a CGI story where the wild mustang befriends a young Mexican-American girl with a deceased mother and an estranged father. 

Unlike its 2002 predecessor, Spirit Untamed is told primarily from a female perspective, as the energetic and reckless Lucky (voiced by Isabela Merced) travels with her aunt from the city to a small town to be with her father (voiced by Jake Gyllenhaal), still grieving after his wife's unexpected passing when Lucky was just a baby. Taking after her mother (a famous horse-riding performer in her day), Lucky shares some similarities with Merida from Pixar's Brave, in terms of refusing to ask like a “proper lady,” instead longing for adventure, despite her father demanding she stay away from horses. Her summer turns into an unlikely adventure when some villainous wranglers in town steal several horses, leading Lucky and Spirit (along with some new local friends) on a journey to bring them home. 

Directed by studio artist Elaine Bogan (with help from fellow artist Ennio Torreson, Jr.), the movie features a star-studded cast that also includes Julianne Moore, McKenna Grace, Walton Goggins, Eiza González, and Andre Braugher. While that may be intriguing for adult audiences, I believe kids will be more into this one. Its story is much more conventional and cliched, with some slapstick comedy thrown in. Likewise, while the computer-generated Spirit maintains his trademark characteristics and personality (Lucky has an equally wonderful and charming character design and personality), the same epic sweep, majesty, and poetry that its hand-drawn predecessor had doesn't quite translate the same in 3D. In fact, it feels more like the streaming series stretched to a feature-length runtime. 

But Spirit Untamed has its moments, including some genuinely intense action and drama, diverse representation onscreen, and some touching music (courtesy Irish composer Amie Doherty). Scenes between Spirit and Lucky (both in character animation and direction) are sweet and endearing. Sights of horses leaping in the air, as well as one moment from a bird’s eye view, create real depth and vertigo. Ditto valleys, mountains, and fireflies. (Stay through the end credits for some wonderful artwork.) 

A few themes that children and families can take away from this include the need for parental figures and friends, which make bravery and determination more meaningful. Along with that is learning to trust others and when to let go. Perhaps, more than anything, Spirit Untamed is a story of rediscovering and embracing one’s roots (i.e., cultural identity) and mending broken relationships (especially amongst families) to move forward. 

The Boss Baby: Family Business (2021) 

As if DreamWorks hadn't made their weirdest movie to date, it seemed like they would present an even more bizarre one with a sequel to their 2017 fantasy-comedy, starring Alec Baldwin as the voice of a suit-wearing infant. At first, the trailers alone had me convinced The Boss Baby: Family Business would be terrible, with a plot centered on grown siblings who decide to turn into babies again in order to help a new “Boss Baby” save her company from a global crisis. Did I mention it clocks in at 1 hour and 47 minutes, setting a surprise new record for a DreamWorks animated movie? But from the first few minutes (double surprise), I didn't expect it to actually be this good. 

Granted, this 2021 follow-up still has a strange premise. Its weirdest moment finds grown brothers Ted (voiced by James Marsden) and Tim (Baldwin) drinking a prototype formula and de-aging through various stages of growth, despite maintaining their respective adult voices in child/baby form. This, after Tim discovers his baby daughter Tina (comedian Amy Sedaris) is an employee at Baby Corps. Hence, carrying on the “family business.” The movie is also funnier, cleverer, and filled with heart, primarily from its dynamics between fathers and daughters, as well as between siblings. That goes just as well for its familial narrative involving the same imagination and creativity that one generation passes down to the next, even if it is a little too much. Honestly, this is the first DW sequel that exceeded my expectations since Shrek Forever After. And it really works. 

Simultaneously released in theaters and on the Peacock streaming service (half of its post-production was completed during COVID-19), returning director Tom McGrath presents a rare sequel that improves on its predecessor in every way, including colorful set pieces. Some of the craziest gags involve baby ninjas, while one of the funniest nods references The Shawshank Redemption. Hans Zimmer and Steve Mazzaro return to compose the adventurous and wild score, while popular tracks by Run DMC, Enya, and Salt 'n Pepa pervade the soundtrack; the end credits benefit from a touching song. Family Business also marked Alec Baldwin's most recent starring role in a mainstream film. I also wasn't expecting the studio to make a direct reference to one of their previous movies; in this case, the 2D animated Spirit, what with a pet pony as part of Boss Baby 2’s supporting cast. 

Tim's second grade daughter Tabitha (voiced by Arianna Greenbalt) is apparently growing up fast—and growing apart from her dad, similar to how Tim and his brother (the latter of whom she prefers more) became estranged. Evidence of Tina's mission leads to Tabitha's alternative school, run by an eccentric principal (voiced by Jeff Goldblum), filled with competitive (not to mention snooty, spoiled, and bullying) classmates and robot screens (emphasizing the dangers of technology and screen time), and a 48-hour window to stop a silly-but-sinister plot to rid the world of parents. WARNING: one character with an excessive sugar addiction may make you feel sick; although, soda combined with Mentos, for the sake of science, is, ironically, a bit cathartic. 

What could've been an easy cash-cow to play off of an idea that didn't work that well to begin with, is instead, as mentioned, an opportunity to present a better and more resonant story about family, generational bonds, and imaginative fun. The central plot turns out to be a chance for our main characters to try childhood again, for brothers to reconnect (and learn about loneliness versus being alone, both at home and in the office), and for Tim to see his daughter’s hard work and potential. He even encourages her to overcome her fears and insecurities, including her worries that she’s not like her dad. Family Business feels more contemporary than its dated 1950s predecessor. It’s both wild and sweet, with fast-paced humor and slapstick that's hysterical. Talk about putting a new spin on maturing. 

The Bad Guys (2022) 

In the early-2010s, DreamWorks was developing a CGI comedy that would also use hand-drawn animation, titled Me and My Shadow. Although that project has since been shelved, the studio was able to resurrect a similar concept the following decade, when they decided to adapt Aaron Blabey’s children’s book series about a group of storybook villains—a wolf, a snake, a shark, a piranha, and a tarantula—who are expert thieves. Not since the Kung Fu Panda series has the studio taken advantage of utilizing both 3D and 2D effects in the same movie. But The Bad Guys may have been the first to do it for an entire feature, creating its own visual identity and language to present something unique and thoroughly entertaining. 

Engaging from its opening (uncut) scene of Mr. Wolf and Mr. Snake going from a diner to a bank robbery, audiences are in for a roller coaster of fun and hilarity. With homages to films like Ocean’s Eleven, Reservoir Dogs, Pulp Fiction, and The Blues Brothers, first-time director Pierre Perifel (who made the 2018 short Bilby) helms an animated heist comedy that looks like it could've been made by Steven Soderberg or Quentin Tarantino. A fitting and fully-realized cast of characters equally benefit from great respective voices, including Sam Rockwell (Mr. Wolf, spewing sly fourth wall narration), Marc Moran (sneaky Mr. Snake), Awkwafina (computer-hacking Ms. Tarantula), Craig Robinson (“master of disguise” Mr. Shark), Anthony Ramos (fish-with-an-attitude Mr. Piranha), Zasie Beetz (the aptly-named Governor Foxington), and Richard Ayote (guinea pig Professor Marmalade). 

Credited as the first “DreamWorks Animation Studios” release (a jab at Pixar?) under Universal Pictures—with Mr. Wolf crashing the iconic moon in the logo—The Bad Guys takes many liberties with its source material, including its main cast. In the books (I’ve only read the first three, as of this writing), Tarantula is male while it's Wolf who suggests he and the gang try to be good to change the public’s perception of them, which the others are not on board with at first. I’m not sure if the books do this as well, but the movie’s story is set in a world where humans, anthropomorphic animals, and pet animals coexist. Plus, the PG-rated flick includes some mild toilet humor, and a silly (kid-focused) subplot involving mind control. Which is otherwise not to say there aren’t subtle homages to the first three books in the series; those who’ve read them may already know the twists this movie’s story will take. 

In a move reminiscent of One Flew Over the Cuckoo’s Nest, the quintet pretends to be good to avoid going to prison after their latest heist goes south. This leads to several “goodness” lessons—recalling the SpongeBob episode where SpongeBob and Patrick try to teach supervillain Manray how to be a model citizen. As a result, Mr. Wolf starts losing his dignity while his friendships and loyalties get tested. Other themes these characters wrestle with and/or question include fear versus love, “normal” versus change (especially for those not used to positive or celebratory things), “hurting” versus “helping,” and believing in others versus doubting them. 

It would be an understatement to compare The Bad Guys to Pixar’s Zootopia or Illumination’s Despicable Me, if only for its satirical angle on those who go from bad to good, and the question of whether they can or should. Everyone in the city is easily (and obviously) afraid of these guys, and that’s just fine with them. But one unexpected compliment starts to change one character’s mind, that being good may not/won’t be such a bad idea. Even better: it’s not a one-sided message, considering how the strong narrative presents complex areas from both sides, including multiple perspectives on “goodness,” related to choices and emotions, as well as sincerity and maturity in owning up to mistakes. As I once wrote about Shrek, whoever said movies this fun and funny couldn’t do that as well? 

Puss in Boots: The Last Wish (2022) 

In terms of sequels that apparently nobody asked for—a.k.a. those that seem like another cash grab—DreamWorks followed up The Boss Baby: Family Business one year later with a continuation of the 2011 spinoff in the Shrek universe, centered around the heroic and roguish feline, Puss in Boots. From The Croods: A New Age director Joel Crawford and co-executive produced by Chris Meledandri (the CEO of Illumination, owned by parent company Universal), I had heard nothing but good things about Puss in Boots: The Last Wish. With a distinct animation style that proceeds the techniques used in The Bad Guys months prior (evoking paintings and fairy tale storybooks), and action sequences that use the same frame rate that Sony Animation’s Spider-Verse utilized, the movie actually succeeds. 

The story follows the titular feline down to his last life, and starting to see (possibly for the first time, considering his age and experience) that his swashbuckling days—loved and celebrated by the people, while an outlaw to everyone else, and full of himself either way—may be coming to an end. More than that, the narrative is not just about Puss on a quest to find a giant Wishing Star (in order to get his lives back). Others include an old flame, a new friend, and some dastardly villains, who each have different reasons and objectives, whether involving magic, power, life, or family. 

Antonio Banderas returns to arguably his most famous role as Puss, maintaining the character’s trademark debonair and charm, while also revealing some unexpected vulnerability and depth. Salma Hayek reprises her role as on-and-off partner, Kitty Softpaws. Harvey Guillem voices homeless dog Perrito, who has an upbeat-if-naive outlook on life. Other characters that show up include an amusing Jiminy Cricket-esque bug with a Jimmy Stewart accent (voiced by Kevin McCann), while a sinister and scary wolf a.k.a. Death (voiced by Wagner Moura) is both unsettling and creepy. But it's crime family Goldilocks (Florence Pugh) and the Three Bears (Ray Winstone, Olivia Colman, and Samson Kayo) that are arguably the film's biggest highlight. Subversive, witty, and engaging altogether, Goldie’s arc, in particular, reminds me of Gabby Gabby from Pixar’s Toy Story 4. 

Viewers should know a few things about this otherwise entertaining and distinct animated feature. Like the Shrek franchise (a few familiar faces make cameo appearances, along with some iconic big eyes), this installment takes jabs at classic fairy tales (including Disney adaptations), primarily from the antagonistic and gluttonous Big Jack Horner (voiced by John Mulaney). It also features some unexpected language choices that made the 2001 original—and earlier DW releases like Antz and The Road to El Dorado—more adult-oriented. Most of said words are censored, but leave a lot to the imagination. 

Puss in Boots: The Last Wish also includes a few macabre elements, with glimpses of how Puss lost his eight previous lives. The feline’s famous catchphrase, “Fear me if you dare,” takes on more than one meaning here. Ironically enough, it’s also not afraid to get serious. The Dark Forest (where most of the action takes place) is an unpredictable environment where anything can happen—even things you don’t see coming, with various conflicts, confrontations, and trust issues colliding. Is it a bright realm, or just an illusion, our characters wonder. It's a unique perspective in the film industry’s current “multiverse” era—and, perhaps, no coincidence that the updated studio logo (which premiered with this movie) features numerous DW characters interacting with the boy-in-the-moon mascot. Puss actually fearing for his final life, coming face-to-face with his past selves, realizing how much he didn’t value them, and deciding to make the most of his one remaining life, puts a new spin on the meaning of life. Not to mention friendships and family. 

Ruby Gillman: Teenage Kraken (2023) 

Original flicks are rare to come by, including animated ones. Writers Brian C. Brown and Elliott DiGuiseppi conceived of a modern twist on the mythology of giant sea creatures known as krakens (Pirates of the Caribbean may spring to mind), but through the lense of a teenage girl having an identity crisis. Released the same year as Disney's live-action Little Mermaid remake and WB/DC’s Aquaman sequel, Ruby Gillman: Teenage Kraken presents a big and bright undersea world, contrasted with a seaside town above water. 

The title character (voiced by Lana Condor) is a high school math-wiz and online influencer. With prom coming up, the shy and awkward teen wants, more than anything, to go and to fit in. The problem: her family has lived on land for fifteen years and is not allowed in the sea. Her mom is in real estate, while her dad makes online videos about ships in bottles a la Bob Ross, and her younger brother is a dodgeball champion. Part of their cover is pretending to be a normal family from Canada. 

Directors Kirk DeMicco and Faryn Pearl fill this oceanic flick with fluid and lively animation, with many examples of squash and stretch. Ditto photorealistic lighting effects and creative art direction. Select 2D segments resemble sketchbook drawings in the style of 60s/70s psychedelic artwork (something the studio would use in their next feature film release). The voice cast includes Toni Collette and Colmon Domingo (as Ruby’s parents), Will Forte (as a kooky sea captain on the hunt for giant sea critters), and Jane Fonda (as Ruby’s undersea queen grandmother). Annie Murphy is a standout as “new girl” Chelsea, who turns out to be both a layered and complex character, putting an antagonistic spin on mermaids. (Is it no coincidence that she resembles Ariel from The Little Mermaid? I think not.) 

It goes without saying that Ruby can be rebellious behind her parents’ backs. It’s clear there are complicated family dynamics, in terms of what Ruby knows or has been told, and what she doesn’t know or hasn’t been told. An accident that lands her in the ocean (complete with glowing neon lights) gives her an arc that sort of recalls Susan from DreamWorks’ Monsters vs. Aliens, as well as Mei from Pixar’s Turning Red. Like the latter, Ruby goes through changes, even calming down to normal size. Ruby feels anxious and pressured between living a normal life on land (“Every single day, I try to hide all the ways I am different”) and succeeding her grandmother in the ocean (with a centuries-old war involving a powerful trident). 

To reiterate, is Ruby Gilman original? Yes. Fun to look at? Sure. (One character even has a lovely and bright prom dress.) Filled with big action? Absolutely. And it saves the most exhilarating stuff for later. (Laser eyes, anyone?) The film is unique in how it portrays young and older people with identity crises, standing up for what’s right, and embracing who you are. It’s also unique in its on-screen representation, despite some activism (and a pop soundtrack) that feels overplayed, dialogue that’s a little too talkative, and some brief LGBTQ references. While not terrible (far from it), the story in Ruby Gillman is familiar and the execution is fast, lacking much emotional investment. The trailers practically give away the movie, especially a third act twist. In short, it doesn’t make much of a splash. 

Trolls Band Together (2023) 

Like Warner Bros’ Happy Feet and Illumination's Sing duologies, DreamWorks’ Trolls movies run on a jukebox of pop songs. Yet, each respective installment has managed to carry its own visual and aural identity, with an emphasis on specific genres. With the original 2016 flick, it was popular tracks. With the 2020 sequel, it was at least five cultures, including Rock’n’roll. With the 2023 entry, Trolls Band Together, it’s boy bands of the 1990s. 

Returning director Walt Dohrn (with Tim Heitz) centers this third story on grouch-turned-happy troll Branch (Justin Timberlake), who reluctantly reunites with his long-lost brothers: former members of the sibling band BroZone. An opening flashback reveals the pressures to be perfect, as well as a disastrous performance that made each sibling/archetype leave and go solo. Branch’s one supportive brother, Floyd (voiced by Troye Sivan), is the one who ends up getting kidnapped—by talentless pop star siblings who steal from other artists instead of doing the work it takes to get there. Branch is doubtful, but Poppy (Anna Kendrick) is, as always, eternally optimistic. 

Returning characters include Tiny Diamond and his scene-stealing personality (as only his voice actor Kenan Thompson could give him). One of the movie’s key sequences introduces a community that resembles CGI Muppets. Ronda the armadillo-shaped mobile is central to a couple of select 2D segments that recall the psychedelic fever of the 1960s (“Too much hustle is a thing”), while a later chase sequence is inventive and subversive. The character designs of the mean and narcissistic Velvet and Veneer (Amy Schumer and Andrew Rannells, respectively) are homages to the Betty Spaghetty toy line from the ’90s. If there’s one new troll character that makes a big impression, it’s Viva (voiced by Camila Cabello), the sister that Poppy never knew she had. She’s just as cheerful and talkative, yet vulnerable about past trauma and not wanting to believe (at first) that certain things can/have changed. 

Part of the lure of this threequel is Timberlake's reunion with his former *NSYNC bandmates, who all contribute to some new original songs for the first time in twenty years. (“I Want You Back,” from their debut album, even appears on this soundtrack's playlist.) Speaking of which, a few songs do include some questionable lyrics, while certain characters are clearly bossy or spew mildly suggestive banter. 

While not as universal or as creative as its predecessor (Trolls World Tour is my personal favorite in the series), Trolls Band Together still works as a colorful and more character-driven story about familial bonds and reunions, especially sibling dynamics, as well as the passage of time between old lives and new ones, and what it takes to be in harmony. It’s also a fun, nostalgic trip for 90s kids who grew up with this particular music. They’ll most certainly get a kick out of select wordplay on famous band names, while finding other opportunities to laugh at the trends and styles of this sub-genre. “It was an era,” Branch argues. And he’s not wrong. 

Kung Fu Panda 4 (2024) 

Po the panda has officially joined the company of Shrek and friends, with at least four theatrical installments in the Kung Fu Panda series. Jack Black reprises his most famous vocal role, still kicking it as the titular Dragon Warrior. On the other hand, his most recent outing brings up the thought of sequels that audiences asked for versus what they needed.  

Directed by Mike Mitchell (Shrek Forever After, Trolls) and Stephanie MaStine, this fourth installment follows Po as he is called to becoming the spiritual leader of the Valley of Peace, considered the highest level in all of kung fu. But Po is conflicted. Or maybe he’s just not ready? Either way (as one character puts it), “I guess it’s just easier to hold onto the life you know.” His latest adversary is a shape-shifting reptile, a sorceress known as the Chameleon (voiced by Viola Davis), who takes on the form of Po’s previous foes. To hang onto his current mantle a little longer, Po journeys (along with a sly, thieving fox, voiced by Awkwafina) to stop this new baddie, even becoming an unexpected mentor in the process. 

Besides, I guess, Po’s inner monologues, other voices in this sequel include Ke Huy Quan (as a Sunda pangolin) and Dustin Hoffman (returning as kung fu master Shifu). But one of this flick’s main subplots involves Po’s adoptive and biological fathers (James Hong and Bryan Cranston, respectively), both putting their differences aside to do what’s best for their son. It also becomes apparent that there are places where the “Dragon Warrior” isn’t even known. 

Kung Fu Panda 4 benefits from stylized action and slapstick comedy sans the Furious Five. It feels like a smaller story, but on a bigger scale. The filmmakers get creative with different camera angles, shots, and editing techniques never used in this series before. The results are both awesome and hilarious. Yet, the film gets intense and dramatic when it needs to be—with skill and resonance, might I add. The score by Hans Zimmer and Steve Mazzaro balances all these effectively, with an Asian cover of Ozzy Osbourne’s “Crazy Train” thrown in for good measure. 

That being said, this is easily the least in the Kung Fu Panda series. It retreads some familiar elements from its predecessors (i.e., Po’s fandom). As such, you’ll need to see the other movies before this one. Like the last movie (from 2016), this installment taps into some dark spirituality, although the Chameleon’s shape-shifting effects are visually incredible. Even so, there are still some worthwhile morals in this story, including orphaned characters, those who were raised wrong or right, how betrayal hurts those closest to us, earning and working for something instead of cheating, and the fact that how we were brought up doesn’t have to determine what we will become. In other words, we can change for the better and choose to do what’s right, simply because it’s right. With Kung Fu Panda 4, the ingredients it has (while not high quality) give us a well-made dish. 

The Wild Robot (2024) 

When I first saw the teaser trailer for an animated adaptation of Peter Brown's celebrated children's book, The Wild Robot, I could already tell it was going to be something special. Not to mention astounding and emotional. And that rarely happens. Written for the screen and directed by Disney and DreamWorks veteran Chris Sanders, the story follows a task-focused robot that crash lands on an island, resulting in a culture shock between technology and nature. 

Many critics have considered this 2024 theatrical release to be the best animated film that DreamWorks has ever made. Following their work on The Bad Guys and Puss in Boots: The Last Wish, the studio presents a very painterly animation style here. Details in the central forest and the animals that inhabit it look like they’ve been made with brushstrokes, while the more three-dimensional design of the titular Roz (voiced by Lupita Nyong’O) is amazing. Not to mention very expressive with so little. 

The local animals, on the other hand, are very cautious and dismissive of strangers, both despising and fearing the visiting android. With that in mind, the film is commendable for being a rare feature that showcases a more realistic presentation of nature (a la Bambi), with journeys and arcs that are perilous, dangerous, sometimes macabre, and full of life, death, creation, and passages of time (i.e., Roz growing moss). And it does help that that presentation is filled with compelling characters and a terrific voice cast, including Pedro Pascal, Catherine O'Hara, Mark Hamill, Ving Rhames, and Bill Nighy. The film’s glimpses of the human world and a few other robots aren't as strong. Ditto brief glimpses of global warming (an element this film shares with the international feature Flow, released the same year). 

Primarily, Roz’s journey—which has several theological implications and parallels—is more than communicating and eventually adapting beyond her programming. Her arc represents what it means to be a parent, for better or worse, when she ends up adopting a baby gosling she names Brightbill (voiced by Kit Connor) and teaches him to eat, swim, and fly. As such, other animals who have underestimated her and her adoptive son (some of them enemies) start seeing her differently this way, as well as by all she does for others, and how her lodge becomes something of a safe haven. Certain characters not only come to learn where they come from and exceed being “defective” or not belonging (as perceived), nor just survive. They show what it means to live and to endure.  

The Wild Robot is an astounding and emotional journey, filled with adventure, humor, drama, action, and visual and aural storytelling (the latter partly from composer Kris Bowers). The montage of Brightbill learning to fly (set to an original track, sung by Maren Morris) has me welling up every time. The film may be different from the book, but it’s still wonderful nonetheless, with themes of what family and community should look like, as well as examples of stories and memories that live/carry on. As far as how The Wild Robot ranks amongst DreamWorks' best films: if not their greatest, it's definitely in their top five, and one you have to see if you haven’t already. Trust me, this one is special. 

Dog Man (2025) 

Following Captain Underpants’ 2017 cinematic debut, Dav Pilkey’s bestselling children’s picture books about the escapades of a half-man/half-dog police officer get the big screen CGI treatment. Directed by Peter Hastings (who also co-produces and provides the vocal effects for the titular “Supa Cop”), Dog Man has stylized animation that captures the look of Pilkey’s original and simple illustrations. 

The premise is rather silly and bizarre, in which a dedicated police officer (Knight) and his dog (Greg) get in an accident that leads to them becoming a hybrid. Basically and literally, the dog’s head gets sewn onto the man’s body. The movie’s slogan reads, “Half man. Part dog. All hero.” And in doing so, Dog Man’s main assignment/case is stopping the dastardly Petey the Cat (voiced by SNL alum Pete Davidson) from taking over the city. The latter even decides to make a clone of himself, but instead creates a kid version that further complicates his plotted schemes. 

The movie jumps right into action as Dog Man teams up with the jealous Chief of Police (voiced by Lil Rel Howery) and a dedicated news reporter (voiced by Isla Fisher). The writers and animators give us one visual and/or verbal gag after another, complete with Pilkey’s juvenile sense of humor and fourth wall breaking. (I wonder if the author and filmmakers were influenced by the comedy styles of the Zucker Brothers & Jim Abrahams, of Airplane and The Naked Gun.) And believe me, a lot of crazy and hysterical stuff/turns happen in this movie, including a subplot involving a revived pet fish (voiced by Ricky Gervais) who gets mechanized and becomes diabolical. 

Several moments will easily fly over the heads of the targeted kid audience; one of Petey's machines is named “80 HD” (get it?). Parents and adults will likely recognize homages to infamous lines from action pics like Aliens and Die Hard. And while the humor isn’t naughty or as toilet-focused as Captain Underpants, there still are a few crude moments, with a particular one involving a giant robot. The movie does, on the other hand, have an entertaining score by composer Tom Howe. (Stay through the credits for more excerpts, as well as a catchy cover of James Brown’s “I Feel Good.”) 

The movie is also surprisingly sweet and cute, with unexpected themes of adults who become parental figures (with both good and bad examples presented), and enemies who become friends. The introduction of Lil’ Petey (voiced by Lucas Hopkins Calderon) changes things instantly. The latter's infectious charm allows him to see the good in everybody, including characters with feelings of abandonment, unresolved matters, difficulty forgiving others (including oneself), and (as The Bad Guys did) the question of whether such people can really change or stay the same. “Love isn’t just something you feel,” Lil’ Petey tells us, “It’s something you do.” We could all use somebody like the cool and sweet Lil’ Petey, who’s arguably the real hero here. As for the titular canine-human hybrid, it's rare these days to have the lead of a mainstream studio movie be an effective pantomime character. 

How to Train Your Dragon (2025) 

It’s interesting that, in the early months of the summer of 2025, we got two live-action remakes of animated films from the last twenty-five years that were helmed by filmmaking duo Dean DeBlois and Chris Sanders. The former made his directorial debut in live-action with (what turned out to be) a shot-for-shot remake of DreamWorks’ 2010 animated take on Cressida Cowell’s beloved children’s book, How to Train Your Dragon. It was also a first for a live-action version of a DreamWorks Animation entry (released by parent company Universal). 

The same premise and story are present: Hiccup, a young outcast in a colony of Vikings, befriends a mysterious dragon and discovers that everything they’ve been taught about the beasts may not be all it seems. The main difference with this Dragon is its amped-up action and violence, with select sequences filmed for IMAX. Ditto its roster of actors, with an engaging young cast—each with unique personalities and portrayals—headed by up-and-comers Mason Thames (who makes a good Hiccup) and Nico Parker (determined as Astrid). In fact, there are more female Vikings in this take. While Edgar Wright regular Nick Frost fills in for Craig Ferguson as dragon trainer Gobber, Gerard Butler is the only actor from the original voice cast to reprise his role (in the flesh) as Stoic. And he does so with such passion and gravitas. (The man is from Scotland, after all.) Meanwhile, Toothless and the other dragons have more details yet are not too far from their iconic CG designs. Still, if you’ve seen the original, you’ll know what to expect here. Mostly. Plus, the flying sequences feel kind of dizzy in flesh and blood. 

Ironically, many critics and audience members have considered this an exceptional live-action take, compared with most cinematic remakes nowadays (particularly from Disney). Perhaps its greatest strength in that area is the fact that much of the original team behind the animated trilogy returned for this variation (including composer John Powell, whose compositions are, once again, endearing and ethereal). As such, this Dragon maintains the heart, entertainment, and cinematic value of its predecessor while expanding the world and character arcs. It also runs 30-minutes longer. “You’d have to be crazy to stay here,” Hiccup tells us, regarding Berk. 

Both the father-son story and the boy-and-his-pet arc guide this epic fantasy-adventure, giving more depth to characters like Hiccup (including his self-awareness), Astrid (her tenacity) and Snotlout (his eagerness to please), and their respective ancestries, heritages, and legacies. Ditto expectations they set for themselves—or which others set for them. In Hiccup's case, while he starts out as an outcast, he sees what nobody else sees and makes changes that nobody else has ever made. As such, he develops wits and smarts more than brawn. Not to mention some exceptional engineering skills. 

Sure, it’s a beast of a different color, if you will. One that goes big, for sure. Yet, it's filled with moments that are just as (if not more) powerful and emotional, maintaining the nostalgia, excitement, and magic of the original while working on its own, even if it doesn’t quite reach the same heights. [Originally posted on April 17, 2026.] 

The Bad Guys 2 (2025) 

Aaron Blabey’s bestselling books about storybook villains-turned-(attempted)-do-gooders get a feature-length continuation with this follow-up to DreamWorks’ 2022 caper romp. The Bad Guys 2 opens with a big caper (in Cairo, Egypt, of all places) from when the titular gang was feared by the public and made heists for the thrill of them. Like its lead Mr. Wolf, it certainly knows how to make an entrance. 

Returning director Pierre Perifel gets help from co-director JP Sans. Meanwhile, the returning voice cast includes Sam Rockwell (Wolf), Marc Moran (Snake), Awkwafina (Tarantula), Craig Robinson (Shark, who, at one point, hilariously officiates a wedding), Anthony Ramos (Piranha), Alex Borstein (Chief of Police-turned-Commissioner), Zazie Beetz (Governor Foxington), and Richard Adoyte (Professor Marmalade). New voices include Danielle Brooks, Natasha Lyonne, and Maria Bakalova as an all-female heist gang (Kitty Kat, Doom, and Pigtail, respectively). 

The titular quintet struggle to live new lives and even doubt whether or not they're being serious about turning good. Then, they are called back into their heist days, in a subplot involving a literal MacGuffin (or, a “MacGuffinite”), and even being framed for it. A few other differences in this sequel include Snake’s diet and regiment, a beefed-up Marmalade, and Wolf’s secret potential romance with Foxington, whose past/secret life as a fellow thief is at risk of getting blackmailed and out into the public. 

Like its predecessor, the stylized animation here is consistently fun to watch, and the movie is thoroughly entertaining. With help from Daniel Pembeton's score, the action is crazier and more chaotic, with standout scenes involving a tidal wave of angry mob members, and even a rocket ship. There's even some select 2D animation for added effect. Ditto Wolf’s fourth wall narration. However, parents of younger children should be aware that this sequel has some suggestive banter, mild/rude language issues, and a couple of questionable song choices on the soundtrack. It otherwise skillfully balances laughs and drama, ranking alongside its predecessor and yet improves with more originality, creativity, unpredictability, and substance. 

The narrative highlights characters with a misguided sense of respect, temptations that their old lives (as criminals) were better, the consequences of trust being broken, and giving people a reason to trust you. Not forcing it but earning it. “Why would you risk your life to save people who wouldn’t give you a chance,” one character asks. It's a good question that extends to the theme that, even when things come crashing down, hoping for a better life is a good thing. In other words, Shawshank wasn’t the only other film that did that. 

Gabby’s Dollhouse: The Movie (2025) 

In the growing plethora of TV shows that DreamWorks created for Netflix, one of their most popular is centered around a young girl who magically transports into a dollhouse and interacts with the imaginative characters who live there. Echoing shows like Blue’s Clues and Dora the Explorer, Gabby’s Dollhouse became an interactive experience for children for eight seasons. In 2025, the show made the leap to the big screen, becoming DreamWorks’ first live-action/animated hybrid (second if you count the live-action How to Train Your Dragon, released earlier that summer). 

Let me just say, right off the bat, that this is not the kind of movie I would normally write about, let alone watch. For one thing, I’m not the target demographic. For another, the same: this is strictly for kids. That is, unless you want to see SNL veteran Kristen Wiig hamming it up as a fashion-obsessed villainess, or singing sensation Gloria Estefan as Gabby’s endearing grandmother. However, because I've been spending the last several months revisiting and doing retrospectives on the history and filmography of DreamWorks Animation, this movie is part of that canon. Hence, this review. Plus, it is rare for a studio release to get a G-rating these days (despite being pigeonholed as a child-focused label, instead of the “general audience” stamp it used to be). 

The titular heroine (Laila Lockhart Kraner has played this role since she was 12 years old) travels to the city of Cat Francisco (that’s right) to spend the week with her Grandma Gigi. Then, her dollhouse gets lost, and is found and stolen by a fashion- and cat-obsessed businesswoman. The plot soon becomes a rescue mission, filled with a much bigger scope (from Gabby’s bedroom to the big city), colorful animation, creative costume changes, fourth wall narration/interaction, and visual cat motifs throughout, giving kids in the audience some opportunities to sing along. Standout sequences include a charming number in a fish tank, which gives the live-action Little Mermaid a run for its money, and a lively aerial chase sequence involving woodland creatures, who move at a stylized frame rate à la Spider-Verse and Puss in Boots). 

The movie is a little longer than it needs to be. For one thing, it features a subplot involving Girl Scouts, which is a little too much. It also has a few subtle adult references, from song choices on the soundtrack to scenes of yoga/meditation and characters getting sugar rushes. A central new character, stuffed animal Chumsley (voiced by Jason Mantzoukas), has trust issues and believes his days of playtime are over. 

As it turns out, Gabby’s Dollhouse isn’t entirely kid-focused. Recalling themes in Pixar’s Toy Story series, Gabby does get surprisingly resonant and sweet. Its message about remembering what it means to be a child (especially play) and fearing what happens when you become an adult is key. This is reflective in our three main human characters (Gabby, Vera, and Gigi), each representing different generations and experiences. The adult Vera (who sells glittered kitty litter, of all things) believes that, when you become an adult, there’s no more room for fun. Thus, another takeaway is not giving up on people, friendships, and/or family, no matter how old they get. And that’s a worthwhile lesson that any age can connect with. [Originally posted on June 19, 2026.]