When the conversation moves to the long and storied career
of Steven Spielberg, the word “heartstrings” tends to come up a lot. It doesn’t
matter if the man is playing in the arena of sharks, aliens, war, or
dinosaurs…one way or another he will find a way to tug those strings within
our hearts, which makes his adaptation of Roald Dahl’s beloved children’s book,
THE BFG, in which a young orphaned girl befriends a Big Friendly Giant, the perfect playground for the
famed director to play in.
Sophie (Ruby Barnhill) is whisked away from her orphanage by
a friendly giant (Mark Rylance), who is tasked with collecting dreams and delivering
them to sleeping children and their families. Once in the land of giants, the
BFG is tormented by nine bigger-giants, and Sophie decides to help her new
friend.
THE BFG doesn’t have a whole lot to work with in terms of
plot, and spends most of its time with Sophie and The BFG exploring their surroundings.
The story doesn’t have much of a bite until it moves into Sophie looking to
stop the tormenting going on that the bigger and meaner giants are inflicting
upon BFG. It’s a thinly-veiled anti-bullying message going on inside of
Spielberg’s playing around with a Beauty
and the Beast theme sprinkled with his own E.T. (1982).
But this friendly giant begins to stumble thanks to the
script, which feels frustratingly incomplete. The heart of the story is the
relationship between Sophie and BFG, and although some fine seeds are planted,
the script seems to fast-forward to the part where they suddenly become best
friends for life. It doesn’t feel earned and robs the film of any true
heartstrings to pull. The incomplete script also plagues the magical and
magnificent world the giants inhabit; although the environments are stunning,
the building of the mythology stops short of feeling complete. Exactly why it’s
so important for BFG to complete his task of delivering dreams is never fully
explained, or even why it’s his in the first place. This robs of the film of
any real stakes and a “who cares” vibe when it comes to whether or not Sophie
can help him.
There’s still a lot to enjoy in THE BFG. The CGI work in the
giants and the giant-land is stunning, and the motion-capture work done with
BFG is breathtaking. There’s some clever design-work done with BFG’s home, and
even more clever work done with showing how a giant can move stealth-like down
a city street. Humor is well-timed, and a sequence with the Queen of England
and her staff which turns into a farting-fest has to be seen to be believed.
Acting is split right down the middle. Young Ruby Barnhill,
in her first movie role, is sweet in some places but stiff in others, and never
really develops a full character. Mark Rylance acts his way past the motion
capture to create something memorable. The rest of the small cast, which
includes Penelope Wilton (as the Queen), and Rafe Spall and Rebecca Hall (as
the Queen’s staff), are handled well.
THE BFG tries to go for a sweet happy ending with Sophie and
a member of the Queen’s staff (Rebecca Hall’s character), but just like
everything else in the script, the moment doesn’t feel very earned and won’t
have anyone reaching for the tissues. THE BFG is packed with big ideas and good
intentions, but doesn’t see any of them all the way through; it’s a film which
takes baby steps instead of giant ones.
BOTTOM LINE: Rent it
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