In 1996, Eidos Interactive put out the first Tomb Raider video game. It was wildly successful, spawning several more installments in the game series, action figures, comics, and two feature films with Angelina Jolie as the titular heroine.

After the films, Lara Croft even became a popular Halloween costume choice for women (and their boyfriends presumably) for several years in a row. So it was a bit of a surprise when video game publisher Square Enix decided to release a reboot of the game in 2013 that transformed the iconic Lara from Kelly LeBrock-esque fantasy babe with breasts bigger than her head and guns holstered to bare thighs, to a sinewy thing who sports practical cargo pants and totes a bow and arrows.

It is important to understand that franchise shift before watching this new Tomb Raider movie because if you are only familiar with the old incarnation of Lara, you might be confused. Though there was nothing wrong with the fun, crop-top Jolie version, this Lara (portrayed by Dutch actress Alicia Vikander) is a more serious portrayal. She’s also small, feisty, and stubborn to a fault.

When we meet her, she is working as a bicycle delivery person in central London, struggling to make ends meet. It isn’t that she has no funds, it is that in order to claim her vast wealth, she has to sign paperwork that acknowledges her father’s death — something she hasn’t felt ready to do. Richard Croft left seven years prior to some kind of urgent business and never returned, and Lara is still hoping he’s out there.

However, when a little run-in with the law puts her face-to-face with Ana (Kristin Scott Thomas), the overseer of all things Croft, she is persuaded that the responsible thing to do is to handle the transfer of assets. Ana reminds her that even the police have stopped looking for her dad — it’s time to accept the loss and move on. The next day, Lara sits down with the lawyer handling the bequeathment.

Before she can put pen to paper though, she spies a puzzle box on the table. The box, the lawyer explains, was meant to be given to her upon her father’s death. She snatches it up, and we see her sharp mind go to work, solving it within seconds. It turns out that it contained a clue — one that makes her drop the paperwork and set off on an adventure to find her missing father.

Lara travels to Yamatai, a hidden, uninhabited island in treacherous seas, along the way enlisting the help of Lu Ren (Daniel Wu), a drunk, down-on-his-luck sea captain whose father is also missing. As fate would have it, Lu Ren Sr. was last seen ferrying Richard Croft to the island. Together, Lara and her new companion try to find out what kind of danger their fathers had gotten themselves into.

The film is inarguably flawed. For starters, prime talent is underused — Walton Goggins (the film’s villain) needed better lines and moments to strut his stuff, and Wu spends a great deal of time just twiddling his thumbs, waiting for Lara on the side of a mountain. Further, the story relies on go-go-go action in places that could have been used to beef up the plot and develop characters a bit more.

Dangling off cliffs is great, but only if we invest in the characters doing the dangling. And to that point, Vikander has the uncanny ability to be a lead, and yet not stand out in one’s mind after the fact. Maybe it is because despite best efforts not to, she is subconsciously being compared to Jolie, whose Lara (like her own persona at the time) was larger than life, or maybe it is her generic model beauty that makes her feel like just any other girl.

On the other hand, perhaps that last point isn’t such a negative. Vikander feeling very much girl next door (with an edge) mirrors her character, as this version of Lara is certainly more accessible than the original. It feels like she has gone from unattainable Batman status — genius, martial arts pro, millionaire — to something grounded. Men will likely appreciate that she is kick ass and beautiful, and women will walk out of theaters thinking “Maybe if I just took some kickboxing lessons at my gym I could be Croft.”

Vikander/Lara aside, the film is overall enjoyable. It feels very familiar and comfortable. This is likely because it’s in the same vein as National Treasure or Indiana Jones (Last Crusade, exceedingly so), and we all recognize the formulaic adventure story by now. There is a baddie, an anonymous crime syndicate, and plenty of running, jumping, and, well, tomb raiding. It is predictable, yes, but not necessarily in a bad way. Between the action, the scenery, and the stunning set pieces, the film solidifies itself as a great popcorn movie. Now you just have to turn your brain off and enjoy it.

Check out Tomb Raider in theaters now.