RIYADH: Scottish actor Gerard Butler is returning to the Viking Isle of Berk, but this time he is trading his animated voice for full costume and presence in the live-action adaptation of “How to Train Your Dragon” — a remake of the beloved DreamWorks franchise, helmed by three-time Oscar nominee Dean DeBlois.

In this new retelling, which releases on June 12, Mason Thames plays the inventive Hiccup, a young Viking who defies tradition to befriend Toothless, a Night Fury dragon. Butler reprises his role as Stoick the Vast, Hiccup’s formidable father, stepping from the recording booth into full-bodied performance.

“It’s a big change,” Butler told Arab News. “When I’m doing the recording, the animation, I could pretty much turn up in my pajamas if I wanted to. But there’s no getting away with that here. It was all of me. There’s no excuses.”

He described the live-action shift as “a chance to bring Stoick’s bigness and smallness” to life in a whole new way.

Butler praised his co-stars, including Nico Parker as Astrid and Nick Frost as Gobber, and especially young lead Thames.

He reflected on the dynamic between the father and son, saying: “Well, he’s an incredible young actor. And I feel like the characters and the relationships that our writer-director Dean DeBlois (has created), there’s a reason they became so beloved and people feel so strongly because they’re incredibly emotional.

“So, I think to play that Viking father who expects so much from his son, and his son who’s trying his best and actually has all these incredible characteristics that I just can’t see, was beautiful to delve into ... on sets with our clothes, with our costumes, and really believe that we were in that world. That was pretty epic.”

Returning to Saudi Arabia for the film’s press tour, Butler shared his affection for the Kingdom, saying: “I had an incredible experience here and made some really nice friends. AlUla is beyond. I became very attached to that place, to its energy, its history, and to the community there.”

Butler expressed his excitement for the audience, adding: “There’s so much … for them to see because there’s so much in this movie. I think that some of the scenes of the dragons flying are some of the most beautiful, immersive, powerful scenes that I’ve seen on a big screen. But on top of that, I think that we have very complex, emotional, heartfelt performances and a story that they can also climb into. I think we have a lot of modern references that we can all like; the characters are so relatable.

“It’s a big honor for me to be able to play this character again. I feel very lucky to be part of this franchise. I feel very protective of it because I was there. I was actually there even before Dean DeBlois was there, you know, because we had a different director way, way back. So I’ve been with it for a long, long time, and to see it start as just a little planet and then become a whole universe has been amazing.”

DUBAI: Netflix’s latest police-procedural is set in Scotland, but based on the novels of Danish writer Jussi Adler-Olsen.

At its heart is detective Carl Morck (Matthew Goode). Morck is one of those cops; you know, great at his job but terrible with people, emotionally stunted, arrogant, divorced, et cetera. Morck and his partner — and best (only?) friend — James Hardy (Jamie Sives) are shot and wounded in a seemingly routine visit to a crime scene, leaving Hardy paralyzed and the junior officer who arrived first at the scene dead. Morck returns to work to discover that his boss has assigned him to head up a new department (established at the behest of her superiors) looking into cold cases — a good excuse to get the troublesome Morck out of the main office and into a dingy basement room where he can’t easily bother anyone.

He’s assigned some assistance: Akram (Alexej Manvelov) — a Syrian refugee who’s ostensibly an IT boffin, but, it quickly becomes clear, is also a very handy detective with some serious combat skills; Rose (Leah Byrne), an eager and capable cadet struggling with her mental health after a fatal accident at work; and, eventually, Hardy.

Their first case is the disappearance and presumed death of prosecutor Merritt Lingard four years previously. The last person to see her alive was her brother William, but he’s unable to communicate having suffered brain damage as a teen. The case’s many tangents lead off into conspiracies, organized crime and more. The truth of it, though, is considerably more prosaic.

The good news: “Dept. Q” — as you’d expect with Netflix money behind it — looks great, with a gritty, noir-ish feel. There’s a genuine chemistry between the members of the titular department, and it has an absorbing mix of dark humor and sometimes-horrifying violence. Sives, Manvelov, and Byrne, in particular, are compelling draws. Goode offers a largely convincing portrayal of a not-very-nice man attempting to become slightly nicer. It’s enjoyable and easy to binge.

But one suspects that “enjoyable and easy to binge” wasn’t the limit of the showrunners’ ambitions, and “Dept. Q” certainly shows the potential to be more than that. It’s let down, however, by some horribly clunky storylines, not least the relationship between Morck and his assigned therapist Rachel (a wasted Kelly Macdonald), which appears to have been lifted from a discarded rom-com pitch. And many will likely find that the ultimate solution to the case stretches credulity well beyond their limits.

Still, it’s clearly set up for a second season (and possibly many more), and there’s enough promise here to believe that “Dept. Q” will find its feet and become a must-see — rather than a maybe-see — show.