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Gareth von Kallenbach (980 KP) rated Flight (2012) in Movies
Aug 7, 2019
I’m not good with dramas. I like to watch movies to escape reality and dramas are all about reminding you of the turmoil and awkwardness and unpredictability that is reality. But, only if they’re good. Dramas require an emotional response from the viewer, which can only be achieved through great performances, enhanced by story, music and editing. (don’t quote me I could be missing one). If one or more elements are missing, at best it’s an unexpected comedy, at worst you’ve just wasted time and money that you’ll never get back.
Flight in my opinion delivered. We start off with gratuitous nudity (for me it didn’t add to the story but guys will like it) from flight attendant Katerina Marquez (Nadine Valazquez) and a man, Captain Whip Whitacker (Denzel Washington) who’s about to hit his rock bottom. After a night of drinking and snorting some cocaine, together they take to the skies only for it to go horribly wrong, the plane begins an uncontrolled nose dive. Lot’s of close up shots put you right into the aircraft and you almost feel as if you’re on the flight as it’s going down (seriously my heart involuntarily started pounding faster).
Afterwards, the movie really hits its’ stride and gets into the gritty reality of what life can become. Denzel does an excellent job of bringing you in to the internal struggles with his demons; he’s so good in his denial. John Goodman plays a drug dealer Harling Mays, almost as a comic relief which actually works. Don Cheadle plays Hugh Lang, a criminal attorney sent to help Cpt Whitacker as questions arise about what really caused the plane to crash. He plays a great attorney, not smarmy, not slick, but intelligent and sharp, and in his own way, caring.
Nicole Maggen (Kelly Reilly), a drug addict who we witness goes through a relapse that puts her into the path of Cpt Whitacker. Co-pilot Ken Evans (Brian Geraghty) was a convincingly green pilot whom I would not want flying any plane I’m in. And flight attendant Margaret Tomason (Tamara Tunie), a good friend of Whitackers for several years and Pilots union rep Charlie Anderson (Bruce Greenwood) a long time military buddy who comes back into his life because of the crash. I liked both their performances, they really did great in their supporting rolls; you couldn’t have one without the other.
There is a question of devine intervention and redemption, but I think the movie steers clear of being overly religious. (I could have done without Ken Evans wife, overkill in my opinion and not necessary to the story). Anything more I say will spill the beans on the ending, so I’ll leave you with this; it really is unpredictable, you never quite know what Cpt Whitacker’s going to do until he does it. There are beautiful moments and bittersweet moments that create a powerful, emotional ride that I would recommend to someone who likes a good drama. And, even to people like me, who generally try to avoid them.
Flight in my opinion delivered. We start off with gratuitous nudity (for me it didn’t add to the story but guys will like it) from flight attendant Katerina Marquez (Nadine Valazquez) and a man, Captain Whip Whitacker (Denzel Washington) who’s about to hit his rock bottom. After a night of drinking and snorting some cocaine, together they take to the skies only for it to go horribly wrong, the plane begins an uncontrolled nose dive. Lot’s of close up shots put you right into the aircraft and you almost feel as if you’re on the flight as it’s going down (seriously my heart involuntarily started pounding faster).
Afterwards, the movie really hits its’ stride and gets into the gritty reality of what life can become. Denzel does an excellent job of bringing you in to the internal struggles with his demons; he’s so good in his denial. John Goodman plays a drug dealer Harling Mays, almost as a comic relief which actually works. Don Cheadle plays Hugh Lang, a criminal attorney sent to help Cpt Whitacker as questions arise about what really caused the plane to crash. He plays a great attorney, not smarmy, not slick, but intelligent and sharp, and in his own way, caring.
Nicole Maggen (Kelly Reilly), a drug addict who we witness goes through a relapse that puts her into the path of Cpt Whitacker. Co-pilot Ken Evans (Brian Geraghty) was a convincingly green pilot whom I would not want flying any plane I’m in. And flight attendant Margaret Tomason (Tamara Tunie), a good friend of Whitackers for several years and Pilots union rep Charlie Anderson (Bruce Greenwood) a long time military buddy who comes back into his life because of the crash. I liked both their performances, they really did great in their supporting rolls; you couldn’t have one without the other.
There is a question of devine intervention and redemption, but I think the movie steers clear of being overly religious. (I could have done without Ken Evans wife, overkill in my opinion and not necessary to the story). Anything more I say will spill the beans on the ending, so I’ll leave you with this; it really is unpredictable, you never quite know what Cpt Whitacker’s going to do until he does it. There are beautiful moments and bittersweet moments that create a powerful, emotional ride that I would recommend to someone who likes a good drama. And, even to people like me, who generally try to avoid them.
Gareth von Kallenbach (980 KP) rated Frankenweenie (2012) in Movies
Aug 7, 2019
Before he hit the big time, director Tim Burton made a live-action short film named “Frankenweenie” which was a loving tribute to the classic horror films of old, in particular “Frankenstein”. Due to various issues, the 30-minute film never got the attention it deserved and was relegated to a video release after Burton’s stock had risen thanks to hits such as “Beetlejuice”, “Batman”, and “Edward Scissorhands”.
Disney has given Burton a chance to complete his vision for “Frankenweenie”, and Burton has done so by combining the visual themes of classic black and white with modern 3D and stop-motion animation.
The film centers around the town of New Holland, where young Victor Frankenstein (Charlie Tahan) lives in suburbia and spends his days, when not in school, on his love of science, and his beloved dog Sparky. His father, wants Victor to diversify his skills and agrees to allow Victor to take part in a local science fair if he agrees to play baseball as well. Victor agrees, but sadly tragedy strikes when Victor loses his beloved Sparky in an accident.
Devastated, Victor loses his will and his way until he is inspired by his science teacher, Mr. Rzykruski (Martin Landau) who explains how anything can be reanimated via electricity. Since their town is famous for its nightly lightening storms, Victor sets about to revive Sparky, and is able to do so much to his delight. While he is thrilled to have his beloved dog back, Victor must keep Sparky’s return a secret which proves to be a very difficult challenge.
In time, the secret gets out and chaos ensues, especially when Victor’s classmates decide to reanimate other dead objects so that they can compete at the science fair. Things quickly go amok, and Victor and Sparky must find a way to save New Holland and each other.
The film has the trademark Burton visuals which are indeed very lavish. The nature of stop-motion and 3D does at times have some jerkiness to the film, but all in all it is a rich visual experience. I am a fan of Burton, but I have always said he far to often puts substance over style as his visuals have often overshadowed plot and characters in his movies. This time out, Burton has kept the film basic and does not go overboard trying to over-complicate his plot and characters. The film is, at the core, a story about a boy and his dog and their enduring love for one another.
The film is loaded with quirky characters and visuals and several references to the classic horror films of old which inspired it. I was not sure that many of the younger viewers in the audience would be able to get several of the jokes in the film, but they, along with their parents, laughed and cheered throughout the film.
While it will not break any new ground in visuals and story, “Frankenweenie” is a pleasantly fun film that the family will enjoy and is well worth checking out.
Disney has given Burton a chance to complete his vision for “Frankenweenie”, and Burton has done so by combining the visual themes of classic black and white with modern 3D and stop-motion animation.
The film centers around the town of New Holland, where young Victor Frankenstein (Charlie Tahan) lives in suburbia and spends his days, when not in school, on his love of science, and his beloved dog Sparky. His father, wants Victor to diversify his skills and agrees to allow Victor to take part in a local science fair if he agrees to play baseball as well. Victor agrees, but sadly tragedy strikes when Victor loses his beloved Sparky in an accident.
Devastated, Victor loses his will and his way until he is inspired by his science teacher, Mr. Rzykruski (Martin Landau) who explains how anything can be reanimated via electricity. Since their town is famous for its nightly lightening storms, Victor sets about to revive Sparky, and is able to do so much to his delight. While he is thrilled to have his beloved dog back, Victor must keep Sparky’s return a secret which proves to be a very difficult challenge.
In time, the secret gets out and chaos ensues, especially when Victor’s classmates decide to reanimate other dead objects so that they can compete at the science fair. Things quickly go amok, and Victor and Sparky must find a way to save New Holland and each other.
The film has the trademark Burton visuals which are indeed very lavish. The nature of stop-motion and 3D does at times have some jerkiness to the film, but all in all it is a rich visual experience. I am a fan of Burton, but I have always said he far to often puts substance over style as his visuals have often overshadowed plot and characters in his movies. This time out, Burton has kept the film basic and does not go overboard trying to over-complicate his plot and characters. The film is, at the core, a story about a boy and his dog and their enduring love for one another.
The film is loaded with quirky characters and visuals and several references to the classic horror films of old which inspired it. I was not sure that many of the younger viewers in the audience would be able to get several of the jokes in the film, but they, along with their parents, laughed and cheered throughout the film.
While it will not break any new ground in visuals and story, “Frankenweenie” is a pleasantly fun film that the family will enjoy and is well worth checking out.
156Reviews (7 KP) rated True History of the Kelly Gang (2019) in Movies
May 1, 2020
One of the main things that divides opinion on Ned Kelly is was he on the side of good or bad? Some see him as a kind of freedom fighter, standing up to the British, who at the time that looked to suppress and demean the Australian people. Some see him as a criminal, who murdered innocent people for reasons known only to him. Both of these opinions may be true, neither of them might be, but it's one hell of a gamble to base a film on someone that divides opinion that much.
It's a gamble that doesn't pay off, the team behind the film try to sell it as a punk-esque, spit in the face of authority tale of a guy standing up against the establishment. The soundtrack is on-point, but that's about it. George Mackay (as Ned Kelly) does his best to sell it, but the film-makers never truly drive home the idea that this was a man of the people, someone speaking up for the downtrodden, instead Ned spends most of the films run-time with his family in their home, seemingly away from civilisation entirely, taking away from the Robin Hood-like mythology of the man. Without any other characters, Robin Hood is just a man who steals from people. A story about a thief, who becomes a murderer, who becomes a gang leader who incites others to kill, doesn't exactly evoke much sympathy, especially as these are based on real life events. Even if the film denies this by stating “Nothing you are about to see is true” at the start, despite “True History” being in the title of the film.
Some of the cast do their best to with what they are given, but some fall short, and some are just wilfully underused, Thomasin McKenzie, who has been great in recent films such as JoJo Rabbit and Leave No Trace is barely given anything to do other than play “The Woman” despite many important events revolving around her, opposite to this is Charlie Hunnam, who is given ample things to do, but seems to still be playing the same character from his recent The Gentleman performance. George Mackay is a force to be reckoned with, but its a performance that would be better placed in a sex pistols biopic than in 1800's Australia. The shining performance in this is Nicolas Hoult, shaking off his nice guy image to play the corrupt Constable Fitzpatrick, who seems to delight in the power he has and when events stop going Fitzpatrick's way, Hoult commits to playing a man on the edge of completely losing control with surprising conviction and menace, his interrogation scenes being and uncomfortable highlight in an otherwise unconvincing film.
With no mention of the two years Kelly spent on the run, being hidden from the police by a network of sympathisers, and by showing his plight as a very personal experience instead of showing it as an example of the culture at the time, the film misses an opportunity to make a legend of the man, and instead falls short of greatness.
It's a gamble that doesn't pay off, the team behind the film try to sell it as a punk-esque, spit in the face of authority tale of a guy standing up against the establishment. The soundtrack is on-point, but that's about it. George Mackay (as Ned Kelly) does his best to sell it, but the film-makers never truly drive home the idea that this was a man of the people, someone speaking up for the downtrodden, instead Ned spends most of the films run-time with his family in their home, seemingly away from civilisation entirely, taking away from the Robin Hood-like mythology of the man. Without any other characters, Robin Hood is just a man who steals from people. A story about a thief, who becomes a murderer, who becomes a gang leader who incites others to kill, doesn't exactly evoke much sympathy, especially as these are based on real life events. Even if the film denies this by stating “Nothing you are about to see is true” at the start, despite “True History” being in the title of the film.
Some of the cast do their best to with what they are given, but some fall short, and some are just wilfully underused, Thomasin McKenzie, who has been great in recent films such as JoJo Rabbit and Leave No Trace is barely given anything to do other than play “The Woman” despite many important events revolving around her, opposite to this is Charlie Hunnam, who is given ample things to do, but seems to still be playing the same character from his recent The Gentleman performance. George Mackay is a force to be reckoned with, but its a performance that would be better placed in a sex pistols biopic than in 1800's Australia. The shining performance in this is Nicolas Hoult, shaking off his nice guy image to play the corrupt Constable Fitzpatrick, who seems to delight in the power he has and when events stop going Fitzpatrick's way, Hoult commits to playing a man on the edge of completely losing control with surprising conviction and menace, his interrogation scenes being and uncomfortable highlight in an otherwise unconvincing film.
With no mention of the two years Kelly spent on the run, being hidden from the police by a network of sympathisers, and by showing his plight as a very personal experience instead of showing it as an example of the culture at the time, the film misses an opportunity to make a legend of the man, and instead falls short of greatness.
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Bob Mann (459 KP) rated All the Money in the World (2017) in Movies
Sep 29, 2021
You can’t take it with you.
The big talking point of this Ridley Scott film is not of course the film itself but the fact that the disgraced Kevin Spacey (“Baby Driver“) was ‘airbrushed’ out of the movie, replaced by the legend that is Christopher Plummer. With that background, and the fact that the re-shoot only took 9 days (NINE DAYS!!!!), I must admit to having been a tad scornful when Plummer was nominated for a Best Supporting Actor Oscar. “Oh” I thought “…it’s Judi Dench’s minimalistic performance in ‘Shakespeare In Love’ all over again”.
But actually on watching the film I take it all back. Plummer’s role is not, like Dench’s, a mere eight minutes of screen time, but extensive and pivotal. Not only was his nomination richly deserved (his performance is cold, eerie and magnificent!) but Ridley Scott deserved an award for getting so much great footage in the can in such a short space of time.
The film tells the true story of the feckless John Paul Getty III (Charlie Plummer, no relation), grandson to the richest man in the world John Paul Getty I. While in the Piazza Farnese in Rome, JPGIII is kidnapped and a $17 million reward is sought for his release. Whilst claiming to love his offspring, the tycoon is basically a ‘tight git’ and the film concerns the battle of the young heir’s mother Gail (Michelle Williams, “Manchester By The Sea”; “The Greatest Showman”) to persuade JPG1 and his right-hand negotiator Fletcher Chase (Mark Wahlberg, “Patriot’s Day”, “Deep Water Horizon“) to shake the money tree* and get JPGIII released.
*To be fair, JPGIII hasn’t exactly helped his case as it emerges he had previously joked about getting himself kidnapped to get his grandfather’s ransom money!
As I didn’t remember the historical outcome of this, I was in a suitable amount of suspense as to where it would go. It is clear though, from the wiki version of the story, that the ending was significantly ‘sexed-up’ for the movie.
Ridley Scott sensibly balances the views of the Getty’s with the views of the kidnappers, with a semi-sympathetic Italian (Romain Duris) being the focus of those scenes in rural Calabria.
But it’s the scenes with Plummer that really engage. The man as portrayed is an enigma, eccentrically washing his own clothes to save a few pennies and always (ALWAYS) trying to get 20% more on even the most personal of decisions. It makes me really intrigued to see Spacey’s portrayal now… I wonder if the alternate cut might make it onto the Blu-ray? I actually think though that Plummer was the better choice for this: I could see Spacey bringing far too much of Frank Underwood to the role.
Elsewhere in the cast, I think Michelle Williams and Mark Wahlberg are both solid without ever being spectacular and it’s nice to see the talented Andrew Buchan (“The Mercy“; “Broadchurch”) in a more memorable big screen outing as JPG2: his drug-addled son (and JPG3’s father).
Overall, it’s an interesting watch and had me sufficiently engaged to want to watch it again. But without Plummer’s role it wouldn’t really amount to nearly as much.
But actually on watching the film I take it all back. Plummer’s role is not, like Dench’s, a mere eight minutes of screen time, but extensive and pivotal. Not only was his nomination richly deserved (his performance is cold, eerie and magnificent!) but Ridley Scott deserved an award for getting so much great footage in the can in such a short space of time.
The film tells the true story of the feckless John Paul Getty III (Charlie Plummer, no relation), grandson to the richest man in the world John Paul Getty I. While in the Piazza Farnese in Rome, JPGIII is kidnapped and a $17 million reward is sought for his release. Whilst claiming to love his offspring, the tycoon is basically a ‘tight git’ and the film concerns the battle of the young heir’s mother Gail (Michelle Williams, “Manchester By The Sea”; “The Greatest Showman”) to persuade JPG1 and his right-hand negotiator Fletcher Chase (Mark Wahlberg, “Patriot’s Day”, “Deep Water Horizon“) to shake the money tree* and get JPGIII released.
*To be fair, JPGIII hasn’t exactly helped his case as it emerges he had previously joked about getting himself kidnapped to get his grandfather’s ransom money!
As I didn’t remember the historical outcome of this, I was in a suitable amount of suspense as to where it would go. It is clear though, from the wiki version of the story, that the ending was significantly ‘sexed-up’ for the movie.
Ridley Scott sensibly balances the views of the Getty’s with the views of the kidnappers, with a semi-sympathetic Italian (Romain Duris) being the focus of those scenes in rural Calabria.
But it’s the scenes with Plummer that really engage. The man as portrayed is an enigma, eccentrically washing his own clothes to save a few pennies and always (ALWAYS) trying to get 20% more on even the most personal of decisions. It makes me really intrigued to see Spacey’s portrayal now… I wonder if the alternate cut might make it onto the Blu-ray? I actually think though that Plummer was the better choice for this: I could see Spacey bringing far too much of Frank Underwood to the role.
Elsewhere in the cast, I think Michelle Williams and Mark Wahlberg are both solid without ever being spectacular and it’s nice to see the talented Andrew Buchan (“The Mercy“; “Broadchurch”) in a more memorable big screen outing as JPG2: his drug-addled son (and JPG3’s father).
Overall, it’s an interesting watch and had me sufficiently engaged to want to watch it again. But without Plummer’s role it wouldn’t really amount to nearly as much.
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Terror by Night: the true story of the brutal texas murder that destroyed a family, restored one man’s faith, and shocked a nation.
by Terry Caffey with James H. Pence
Genre: True Crime, Christian, memoir
Rating: 5
My summary: Terry woke up one night and saw his daughter’s ex-boyfriend standing in front of him with a gun. Charlie shot him several times, killed his wife, then him and his friend brutally killed his two sons. They set the house on fire, thinking everyone was dead. Terry managed to escape by God’s life-preservation alone, and made the long trek through the woods to the neighbor’s house. All Terry wanted was to die and live in Heaven with his family. But he stayed alive through sheer will-power and God’s grace. He made it to the neighbor’s house, identified the killer, then colapsed, hoping never to wake up again.
He woke up.
and He has to live with what happened for the rest of his long life.
Terry suffers from suicidal thoughts and depression, overdoses on his drugs, and can’t sleep at night because of his fear.
But God can take any situation and turn it around… Terry went back to where his house was to have a heart-to-heart with God. Terry found something there that was preserved through weeks of rain and wind, and yet was still readable. It was a page from James Pence’s novel Blind Sight (though he didn’t know it at the time) and the first lines he read were these: “I couldn't understand why You would take my family and leave me to struggle along without them. And I guess I still don’t totally understand that part of it. But I do believe that You’re sovereign; You’re in control.” Terry eventually found out through some hard hunting that the character in the book who was speaking had lost his wife and children. It was as if that book was written about him.
Terry’s life changed drastically. He went into ministry, he got re-married… and he learned what unconditional love, forgiveness, and trusting God really meant.
Review: Terror by Night was an absolutely stunning book in every sense of the word. The awful things that happened to Terry, and how God restored him, are amazing. Terror by Night is like Job all over again. God took everything away from Terry—his family were dead and his house was charcoal. Terry suffered tremendously, but God restored him. God used him to restore other people. And God blessed him and gave back what he had taken away.
This book is a testimony of how God can take anything and turn it around for good, how everything that happens is His will, and how He is the one and only thing we can always trust.
A powerful message, an amazing testimony, a picture of forgiveness, uplifting, encouraging, and brutally beautiful, Terror by Night will stay with you for the rest of your life.
Content: 100% clean
Recommendation: I whole-heartedly recommend Terror by Night to everyone over the age of 14. Terror by Night is extremely emotional, several times I had to stop and put it down. There were also some disturbing images of how the children were killed. It would probably make you cry if you read it in one sitting. However, I still think everyone should read it.
by Terry Caffey with James H. Pence
Genre: True Crime, Christian, memoir
Rating: 5
My summary: Terry woke up one night and saw his daughter’s ex-boyfriend standing in front of him with a gun. Charlie shot him several times, killed his wife, then him and his friend brutally killed his two sons. They set the house on fire, thinking everyone was dead. Terry managed to escape by God’s life-preservation alone, and made the long trek through the woods to the neighbor’s house. All Terry wanted was to die and live in Heaven with his family. But he stayed alive through sheer will-power and God’s grace. He made it to the neighbor’s house, identified the killer, then colapsed, hoping never to wake up again.
He woke up.
and He has to live with what happened for the rest of his long life.
Terry suffers from suicidal thoughts and depression, overdoses on his drugs, and can’t sleep at night because of his fear.
But God can take any situation and turn it around… Terry went back to where his house was to have a heart-to-heart with God. Terry found something there that was preserved through weeks of rain and wind, and yet was still readable. It was a page from James Pence’s novel Blind Sight (though he didn’t know it at the time) and the first lines he read were these: “I couldn't understand why You would take my family and leave me to struggle along without them. And I guess I still don’t totally understand that part of it. But I do believe that You’re sovereign; You’re in control.” Terry eventually found out through some hard hunting that the character in the book who was speaking had lost his wife and children. It was as if that book was written about him.
Terry’s life changed drastically. He went into ministry, he got re-married… and he learned what unconditional love, forgiveness, and trusting God really meant.
Review: Terror by Night was an absolutely stunning book in every sense of the word. The awful things that happened to Terry, and how God restored him, are amazing. Terror by Night is like Job all over again. God took everything away from Terry—his family were dead and his house was charcoal. Terry suffered tremendously, but God restored him. God used him to restore other people. And God blessed him and gave back what he had taken away.
This book is a testimony of how God can take anything and turn it around for good, how everything that happens is His will, and how He is the one and only thing we can always trust.
A powerful message, an amazing testimony, a picture of forgiveness, uplifting, encouraging, and brutally beautiful, Terror by Night will stay with you for the rest of your life.
Content: 100% clean
Recommendation: I whole-heartedly recommend Terror by Night to everyone over the age of 14. Terror by Night is extremely emotional, several times I had to stop and put it down. There were also some disturbing images of how the children were killed. It would probably make you cry if you read it in one sitting. However, I still think everyone should read it.
Movie Metropolis (309 KP) rated The BFG (2016) in Movies
Jun 10, 2019
Spielberg, where are you?
Roald Dahl’s inspiring novels have had a chequered history when it comes to turning them into films. Danny DeVito’s Matilda is widely regarded as one of the best adaptations, with Tim Burton’s Charlie & the Chocolate Factory rendered a monstrosity by fans of the author and movie critics alike.
So when Steven Spielberg was announced as director of The BFG, my personal favourite of all Dahl’s novels, I was equal parts pleased and wary. Could my favourite filmmaker really do this amazing book justice?
Partially is the short answer. Spielberg proves a safe pair of hands as usual, but it lacks his trademark flair, losing the darker, more brooding elements of the source material in the process.
Ten-year-old Sophie (Ruby Barnhill) experiences the adventure of a lifetime when she meets the Big Friendly Giant (Mark Rylance). Naturally scared at first, she soon realizes that the 24-foot behemoth is actually gentle and charming. As their friendship grows, Sophie’s presence attracts the unwanted attention of Bloodbottler, Fleshlumpeater and other giants. After traveling to London, Sophie and the BFG must convince the Queen to help them get rid of all the bad giants once and for all.
Casting wise, The BFG is practically spot on with Mark Rylance being exceptional in the titular role. It was always going to be hard to fill the shoes of David Jason, who tackled the character in the 1989 TV film, but he is perfect; getting the mannerisms and voice down to a tee. The motion capture used to render Rylance’s face onto the giant is breath-taking and some of the best I’ve seen. Elsewhere, Ruby Barnhill certainly has the look of Sophie, but lacks the acting finesse of some child actors.
The cinematography is both beautiful and at times hard to stomach. The opening sequence in which Sophie is taken from her bed to Giant Country is stunning, climaxing in a first-person view of the far-away land. Unfortunately, Spielberg’s avoidance of shaky cam lends an almost video-game feel to the scene that proves nauseating after a few minutes.
The BFG also suffers when both its main characters share a close-up. In particular, when Sophie is being carried by the giant, the motions look continuously jerky and spoil an otherwise impeccably rendered film – you can see where the $140million was spent.
Unfortunately, John Williams’ score lacks any sort of punch and feels sorely out of place in certain parts of the film. This is even more unusual considering the pairing of Spielberg and Williams has given us greats like Jurassic Park, E.T. and Indiana Jones.
Nevertheless, this is a sweet film that children and adults should enjoy. The themes of friendship and loneliness can resonate with all generations and a packed-out cinema proves just what a draw Roald Dahl still is to this day.
Overall, The BFG is everything most families will want from a summer holiday blockbuster. It’s sugary sweet, with great special effects, engaging acting and a wonderful story that follows its source material reasonably well. However, for Spielberg fans, it’s puzzling because the director’s presence feels a little lost. There’s a lot to like, but not a lot to love.
https://moviemetropolis.net/2016/07/28/spielberg-where-are-you-the-bfg-review/
So when Steven Spielberg was announced as director of The BFG, my personal favourite of all Dahl’s novels, I was equal parts pleased and wary. Could my favourite filmmaker really do this amazing book justice?
Partially is the short answer. Spielberg proves a safe pair of hands as usual, but it lacks his trademark flair, losing the darker, more brooding elements of the source material in the process.
Ten-year-old Sophie (Ruby Barnhill) experiences the adventure of a lifetime when she meets the Big Friendly Giant (Mark Rylance). Naturally scared at first, she soon realizes that the 24-foot behemoth is actually gentle and charming. As their friendship grows, Sophie’s presence attracts the unwanted attention of Bloodbottler, Fleshlumpeater and other giants. After traveling to London, Sophie and the BFG must convince the Queen to help them get rid of all the bad giants once and for all.
Casting wise, The BFG is practically spot on with Mark Rylance being exceptional in the titular role. It was always going to be hard to fill the shoes of David Jason, who tackled the character in the 1989 TV film, but he is perfect; getting the mannerisms and voice down to a tee. The motion capture used to render Rylance’s face onto the giant is breath-taking and some of the best I’ve seen. Elsewhere, Ruby Barnhill certainly has the look of Sophie, but lacks the acting finesse of some child actors.
The cinematography is both beautiful and at times hard to stomach. The opening sequence in which Sophie is taken from her bed to Giant Country is stunning, climaxing in a first-person view of the far-away land. Unfortunately, Spielberg’s avoidance of shaky cam lends an almost video-game feel to the scene that proves nauseating after a few minutes.
The BFG also suffers when both its main characters share a close-up. In particular, when Sophie is being carried by the giant, the motions look continuously jerky and spoil an otherwise impeccably rendered film – you can see where the $140million was spent.
Unfortunately, John Williams’ score lacks any sort of punch and feels sorely out of place in certain parts of the film. This is even more unusual considering the pairing of Spielberg and Williams has given us greats like Jurassic Park, E.T. and Indiana Jones.
Nevertheless, this is a sweet film that children and adults should enjoy. The themes of friendship and loneliness can resonate with all generations and a packed-out cinema proves just what a draw Roald Dahl still is to this day.
Overall, The BFG is everything most families will want from a summer holiday blockbuster. It’s sugary sweet, with great special effects, engaging acting and a wonderful story that follows its source material reasonably well. However, for Spielberg fans, it’s puzzling because the director’s presence feels a little lost. There’s a lot to like, but not a lot to love.
https://moviemetropolis.net/2016/07/28/spielberg-where-are-you-the-bfg-review/