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Gareth von Kallenbach (980 KP) rated Solo: A Star Wars Story (2018) in Movies
Jun 19, 2019
Back in 1977 I remember going into the original Cine Capri to see “Star Wars” with some friends. I was very young but little did I know that movie would change my life and put me on the path that I am now. Over the decades that have followed I have read the books and comics, played with the toys, played the video games, and eagerly watched any new film or television show related to the franchise.
The fact that Disney has put out a new film every years since “Star Wars: The Force Awakens” is great for fans like me as those three year waits; to say nothing of the 17+ years between the Original and Prequel Trilogies were tough.
Through it all my favorite character has always been Han Solo. I do not know what it is but the brash, cocky, money loving; scoundrel who gets in and out of trouble yet does the right thing in the end has always connected with me.
So when news came that there would be a new movie based on the early years of the title characters I was excited but concerned as Harrison Ford is so iconic in that role I could not see how anyone could measure up.
Combine that with original Directors Phil Lord and Christopher Miller being removed from the film after shooting a significant number of weeks, there was ample concern to go around.
Fortunately for fans, Director Ron Howard has crafted a very enjoyable film as “Han Solo: A Star Wars Story” deftly combines the action, visuals, and humor that made the films cinematic legends and in doing so introduces new characters and expands the lore of the Star Wars Universe.
The film follows a young Han (Alden Ehrenreich), who hustles to survive and get off the world of Corrilia.
Han like many kids on the street pull all sorts of scams under the control of various criminals and he plots to escape with his friend Qi’ra (Emilia Clarke).
When an opportunity arises, Han takes it, but finds himself in the Imperial Navy which does not bode well for a person with strong opinions and a mind of his own.
Fate steps in once again and introduces Han to Chewbacca (Joonas Suotamo), and a mentor figure in the form of a man named Beckett (Woody Harrelson). Han attempts to prove himself to his new crew as he sees this as his way out to a better life. However with things take a turn for the worse, he must work with his new associates to clear the slate with a deadly crime boss named Dry’den Vos (Paul Bettany).
As anyone who follows the series knows Han has a way of escalating a situation and this leads the crew to recruiting Lando Calrissian (Donald Glover), into the crew as they set off to pull off a risky and dangerous mission to get the much needed resources to save their lives.
What follows is a very enjoyable film that has an appropriate amount of humor and character building as well as plenty of good action and effects which should keep fans of the series happy. The new characters were very enjoyable and added a new depth to Han as well as the Star Wars mythos but what really impressed me was that at no time did I find myself comparing Ehrenreich to Harrison Ford. He was charismatic and enjoyable in the role and I easily believed that this was Han before life, the universe, and circumstances turned him into the man we would know years later.
Glover is uncanny with his version of Lando and he at times almost sounded like Billy Dee Williams and had many of the mannerisms of the character down His back and forth with Han was great to see and we got a much deeper understand of both the characters and their complicated history with one another.
Clark and Harrelson round things out well as they provide a great balance to Han. One is a mentor and one is the link to the life he had and the dreams he wants to achieve. Ron Howard moves things along well without rushing things as while it does take a bit of time getting up to speed, it happens at a natural pace without seeming rushed. Howard also does not rely on an abundance of effects to carry the film. There are plenty of practical FX and makeup creations to make you well aware that this is a vast and diverse galaxy but he uses them and the CGI to enhance the story rather than carry it.
There are numerous nods throughout to past films as well both visual and verbal and a few great surprises along the way. It is believed that more adventures of the younger Han will be coming in the future and I cannot wait for them to arrive as this was a very fun film. Now the only hard part will be the 19 month wait for Episode IX as the five month wait from the last film already seems like ages ago and I cannot wait for more.
http://sknr.net/2018/05/15/solo-a-star-wars-story/
The fact that Disney has put out a new film every years since “Star Wars: The Force Awakens” is great for fans like me as those three year waits; to say nothing of the 17+ years between the Original and Prequel Trilogies were tough.
Through it all my favorite character has always been Han Solo. I do not know what it is but the brash, cocky, money loving; scoundrel who gets in and out of trouble yet does the right thing in the end has always connected with me.
So when news came that there would be a new movie based on the early years of the title characters I was excited but concerned as Harrison Ford is so iconic in that role I could not see how anyone could measure up.
Combine that with original Directors Phil Lord and Christopher Miller being removed from the film after shooting a significant number of weeks, there was ample concern to go around.
Fortunately for fans, Director Ron Howard has crafted a very enjoyable film as “Han Solo: A Star Wars Story” deftly combines the action, visuals, and humor that made the films cinematic legends and in doing so introduces new characters and expands the lore of the Star Wars Universe.
The film follows a young Han (Alden Ehrenreich), who hustles to survive and get off the world of Corrilia.
Han like many kids on the street pull all sorts of scams under the control of various criminals and he plots to escape with his friend Qi’ra (Emilia Clarke).
When an opportunity arises, Han takes it, but finds himself in the Imperial Navy which does not bode well for a person with strong opinions and a mind of his own.
Fate steps in once again and introduces Han to Chewbacca (Joonas Suotamo), and a mentor figure in the form of a man named Beckett (Woody Harrelson). Han attempts to prove himself to his new crew as he sees this as his way out to a better life. However with things take a turn for the worse, he must work with his new associates to clear the slate with a deadly crime boss named Dry’den Vos (Paul Bettany).
As anyone who follows the series knows Han has a way of escalating a situation and this leads the crew to recruiting Lando Calrissian (Donald Glover), into the crew as they set off to pull off a risky and dangerous mission to get the much needed resources to save their lives.
What follows is a very enjoyable film that has an appropriate amount of humor and character building as well as plenty of good action and effects which should keep fans of the series happy. The new characters were very enjoyable and added a new depth to Han as well as the Star Wars mythos but what really impressed me was that at no time did I find myself comparing Ehrenreich to Harrison Ford. He was charismatic and enjoyable in the role and I easily believed that this was Han before life, the universe, and circumstances turned him into the man we would know years later.
Glover is uncanny with his version of Lando and he at times almost sounded like Billy Dee Williams and had many of the mannerisms of the character down His back and forth with Han was great to see and we got a much deeper understand of both the characters and their complicated history with one another.
Clark and Harrelson round things out well as they provide a great balance to Han. One is a mentor and one is the link to the life he had and the dreams he wants to achieve. Ron Howard moves things along well without rushing things as while it does take a bit of time getting up to speed, it happens at a natural pace without seeming rushed. Howard also does not rely on an abundance of effects to carry the film. There are plenty of practical FX and makeup creations to make you well aware that this is a vast and diverse galaxy but he uses them and the CGI to enhance the story rather than carry it.
There are numerous nods throughout to past films as well both visual and verbal and a few great surprises along the way. It is believed that more adventures of the younger Han will be coming in the future and I cannot wait for them to arrive as this was a very fun film. Now the only hard part will be the 19 month wait for Episode IX as the five month wait from the last film already seems like ages ago and I cannot wait for more.
http://sknr.net/2018/05/15/solo-a-star-wars-story/
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Phil Leader (619 KP) rated Chuck Steak in Books
Nov 11, 2019
Remember those action movies from the 80s and 90s? The ones where the chisel-jawed hero catches the bad guy via a convoluted and improbable plot, over the top action scenes and mass collateral damage? Chuck Steak doesn't just remember them. He IS them.
Maverick stop-at-nothing-even-if-it-causes-millions-of-dollars-of-damage-and-gets-me-suspended-again cop Chuck Steak (not the meat) has a new adversary. A bomb has been planted in his girlfriend and Chuck is being blackmailed into doing things he doesn't want to do, like be nice to his in-laws-to-be, become tolerant and accepting of minorities and work with a partner. He blunders through each increasingly ridiculous task, always managing it in unlikely ways, in the nick of time and causing maximum destruction in the process. But the mastermind behind the plan is always one step ahead. Has the apparently invincible Chuck Steak finally met his match?
First things first, this is in no way a serious book. As is fitting for the movie genre it is inspired by, everything is larger than life and twice as loud. There is however coherence to the plot (even though it does meander around for some gratuitous action scenes) and the twists, turns and red herrings thrown out in the final chapters as to who the villain is will certainly wrong foot many readers and in the end it does make some kind of sense.
There is also a subtext around acceptance of people who are different; Chuck and the police are portrayed very much as the intolerant knuckleheads of action movies, but his realisations that how he normally behaves could be grossly offensive provide some of the more striking moments of the book.
The prose is fast and loose, with flashbacks, changes of point of view and the occasional sub plot thrown in. The characterisation is bold, from the incredibly clichéd police captain to the more nuanced father in law. They bounce of each other in interesting ways and are each a key part of Chuck's journey. Some of the writing is a little cluttered and confused but that just adds to the feeling of this being a headlong rush to the final chapter.
80s and 90s action flicks were just 2 hours of pure escapist entertainment, never intended to be anything other than enormous fun. Chuck Steak captures the spirit of these well. An absolute riot to read.
Rated R for pretty much everything that makes things R rated
Maverick stop-at-nothing-even-if-it-causes-millions-of-dollars-of-damage-and-gets-me-suspended-again cop Chuck Steak (not the meat) has a new adversary. A bomb has been planted in his girlfriend and Chuck is being blackmailed into doing things he doesn't want to do, like be nice to his in-laws-to-be, become tolerant and accepting of minorities and work with a partner. He blunders through each increasingly ridiculous task, always managing it in unlikely ways, in the nick of time and causing maximum destruction in the process. But the mastermind behind the plan is always one step ahead. Has the apparently invincible Chuck Steak finally met his match?
First things first, this is in no way a serious book. As is fitting for the movie genre it is inspired by, everything is larger than life and twice as loud. There is however coherence to the plot (even though it does meander around for some gratuitous action scenes) and the twists, turns and red herrings thrown out in the final chapters as to who the villain is will certainly wrong foot many readers and in the end it does make some kind of sense.
There is also a subtext around acceptance of people who are different; Chuck and the police are portrayed very much as the intolerant knuckleheads of action movies, but his realisations that how he normally behaves could be grossly offensive provide some of the more striking moments of the book.
The prose is fast and loose, with flashbacks, changes of point of view and the occasional sub plot thrown in. The characterisation is bold, from the incredibly clichéd police captain to the more nuanced father in law. They bounce of each other in interesting ways and are each a key part of Chuck's journey. Some of the writing is a little cluttered and confused but that just adds to the feeling of this being a headlong rush to the final chapter.
80s and 90s action flicks were just 2 hours of pure escapist entertainment, never intended to be anything other than enormous fun. Chuck Steak captures the spirit of these well. An absolute riot to read.
Rated R for pretty much everything that makes things R rated
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Darren (1599 KP) rated The Baylock Residence (2019) in Movies
Sep 26, 2019
Characters – Patricia Woodhouse left this house years ago, she is drawn back during the war after her sister’s death, she wants to start a new life here, because the war has taken nearly everything else from her, but the past she spent so long trying to forget has come back to haunt her, as she looks for the truth of her sister’s death. Annabel is the help around the house, she stays after Patricia requests for her to stay and help her with the transition, she does help fill in about the past, including what happened to Susanna. Susanna is the sister that has passed away, we are left to wonder what caused her death.
Performances – Kelly Goudie in the leading role isn’t the strongest leading lady, when it comes to the reaction or horror scenes, we don’t get anything bad, it’s the everyday moments which come off flatter than they should do. Sarah Wynne Kordas is the only other main cast member that does everything needed without getting the best scenes.
Story – The story here follows a woman that returns to her home after years away to deal with a family loss, only to learn that the house has a bigger secret that hasn’t been unlock just yet. This is story that plays into the idea that your past can hold answers no matter how hard you look to forget it, it does also play into the ideas that a family can have secrets which will only disturb. The pace of the story isn’t the most convincing, with large amounts of the film being stuff happening behind characters most notable Patricia, we also end up teasing an idea to what is happening, only it just gets forgotten which would have added extra dimension to an abuse victim. The war time theme doesn’t help because the same story could easily happen at any other era too.
Horror – The horror in this film comes from how Patricia is struggling with the visions that she is having, not being able to balance reality with supernatural.
Settings – The film is set within the one house, which doesn’t look time accurate from the outside, it does show how the family home can be reunited from tragedy.
Special Effects – The film does use effects sparely, when they are used they do add an element to horror in the film.
Scene of the Movie – The secret room.
That Moment That Annoyed Me – The non-horror moment conversations feel out of place.
Final Thoughts – This is a horror thriller that does have moments of strong tension, only it doesn’t keep this up for long enough to make us what to learn the truth.
Overall: Slow Burning Horror.
Performances – Kelly Goudie in the leading role isn’t the strongest leading lady, when it comes to the reaction or horror scenes, we don’t get anything bad, it’s the everyday moments which come off flatter than they should do. Sarah Wynne Kordas is the only other main cast member that does everything needed without getting the best scenes.
Story – The story here follows a woman that returns to her home after years away to deal with a family loss, only to learn that the house has a bigger secret that hasn’t been unlock just yet. This is story that plays into the idea that your past can hold answers no matter how hard you look to forget it, it does also play into the ideas that a family can have secrets which will only disturb. The pace of the story isn’t the most convincing, with large amounts of the film being stuff happening behind characters most notable Patricia, we also end up teasing an idea to what is happening, only it just gets forgotten which would have added extra dimension to an abuse victim. The war time theme doesn’t help because the same story could easily happen at any other era too.
Horror – The horror in this film comes from how Patricia is struggling with the visions that she is having, not being able to balance reality with supernatural.
Settings – The film is set within the one house, which doesn’t look time accurate from the outside, it does show how the family home can be reunited from tragedy.
Special Effects – The film does use effects sparely, when they are used they do add an element to horror in the film.
Scene of the Movie – The secret room.
That Moment That Annoyed Me – The non-horror moment conversations feel out of place.
Final Thoughts – This is a horror thriller that does have moments of strong tension, only it doesn’t keep this up for long enough to make us what to learn the truth.
Overall: Slow Burning Horror.
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BankofMarquis (1832 KP) rated Edward Scissorhands (1990) in Movies
Apr 23, 2020
Has more heart than later Burton/Depp collaborations
There have been many actor/director long term collaborations through the years - John Ford/John Wayne, Martin Scorcese/Robert DeNiro and Alfred Hitchock/Jimmy Stewart all come to mind. Another interesting collaboration is the unique one between Tim Burton and Johnny Depp. The films these 2 have made have shown an "outsider" being introduced into an environment - usually in a quirky and gothic dark manner. So it was interesting to go back to the film that started it all - 1990's EDWARD SCISSORHANDS.
Interestingly enough, this film works because of the lack of weight of previous Burton/Depp collaborations.
Let me explain...
If you were to hear today that Tim Burton and Johnny Depp were to collaborate on a film, what expectations would you have? Quirky, dark and gothic comes to mind. With EDWARD SCISSORHANDS, none of these expectations were in place. You can see the purity in the beginning of this collaboration with these 2 artists finding there footing together in a film that is...yes...quirky, dark and gothic.
It is also, unexpectedly, light, airy, funny and poignant - traits that I think get lost in later Burton/Depp collaborations....collaborations where the focus seemed to be on the design and look and less on the emotion.
Set in a timeless, stylized world that is part '50's, part '60's, part 80's and part "everything else", EDWARD SCISSORHANDS is Burton's loose retelling of the Frankenstein story, where an isolated inventor (in this case Vincent Price) creates life (Depp)...with scissors for hands (you'll have to see the film to see why). When a local resident (and door to door cosmetic saleslady) discovers Edward living alone, she invites him into her house - and into the lives of the the neighborhood that exists below.
Depp owns this character - and owns it well. He brings an innocence and integrity to this character that rides a fine line well. His character is naive - but not simpleminded. He is longing to please - and to be loved - but has his own mind. In Depp's performance, you see an actor coming into his own.
He is joined - wonderfully - by Diane Wiest as the lady that invites him into her home. Winona Ryder (who turned down Godfather 3 to appear in this film) as Wiest's daughter (and object of Edward's affections) and the great Alan Arkin as the patriarch of the family who is a fun stereo-type of the Suburban dad.
All of this is packaged - uniquely - by Burton with an "8 crayon" color palate that exaggerates the various styles of the time. It is an expert job of combining styles into a unique vision that works very, very well.
I also have to give Burton credit for casting the iconic horror movie veteran Vincent Price (in his last film role) as the inventor of Edward Scissorhands.
I was taken under the spell of this film - and not just because of the interesting visuals - it has a heart and soul (because of Depp's work) that, I think both Depp and Burton lose in some of their later collaborations.
If you haven't seen this film in awhile - check it out - I think you'll like it.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Interestingly enough, this film works because of the lack of weight of previous Burton/Depp collaborations.
Let me explain...
If you were to hear today that Tim Burton and Johnny Depp were to collaborate on a film, what expectations would you have? Quirky, dark and gothic comes to mind. With EDWARD SCISSORHANDS, none of these expectations were in place. You can see the purity in the beginning of this collaboration with these 2 artists finding there footing together in a film that is...yes...quirky, dark and gothic.
It is also, unexpectedly, light, airy, funny and poignant - traits that I think get lost in later Burton/Depp collaborations....collaborations where the focus seemed to be on the design and look and less on the emotion.
Set in a timeless, stylized world that is part '50's, part '60's, part 80's and part "everything else", EDWARD SCISSORHANDS is Burton's loose retelling of the Frankenstein story, where an isolated inventor (in this case Vincent Price) creates life (Depp)...with scissors for hands (you'll have to see the film to see why). When a local resident (and door to door cosmetic saleslady) discovers Edward living alone, she invites him into her house - and into the lives of the the neighborhood that exists below.
Depp owns this character - and owns it well. He brings an innocence and integrity to this character that rides a fine line well. His character is naive - but not simpleminded. He is longing to please - and to be loved - but has his own mind. In Depp's performance, you see an actor coming into his own.
He is joined - wonderfully - by Diane Wiest as the lady that invites him into her home. Winona Ryder (who turned down Godfather 3 to appear in this film) as Wiest's daughter (and object of Edward's affections) and the great Alan Arkin as the patriarch of the family who is a fun stereo-type of the Suburban dad.
All of this is packaged - uniquely - by Burton with an "8 crayon" color palate that exaggerates the various styles of the time. It is an expert job of combining styles into a unique vision that works very, very well.
I also have to give Burton credit for casting the iconic horror movie veteran Vincent Price (in his last film role) as the inventor of Edward Scissorhands.
I was taken under the spell of this film - and not just because of the interesting visuals - it has a heart and soul (because of Depp's work) that, I think both Depp and Burton lose in some of their later collaborations.
If you haven't seen this film in awhile - check it out - I think you'll like it.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Emma @ The Movies (1786 KP) rated The Predator (2018) in Movies
Sep 25, 2019
I went into this expecting some good action and some decent graphics. I did not expect to find so much comedy. This was a real treat to watch.
There's just something about "seeing" The Predator when he's invisible that really hits the spot. It gets you on the edge of the seat and fills you with just the right sort of anxiety. Had someone tapped me on the shoulder during the first time that happened in the film I probably would have swung for them while wailing like a banshee.
Lots of actors that you'd recognise from other things and everyone has their own little quirk that works well together in the scenes. It didn't feel like any of the talent was underused, which can be an issue with people in bit parts.
Who knew that Predators had a sense of humour too?! I don't think I've ever seen anyone use a severed limb in such an ingenious way before.
One bit that I really enjoyed reminded me of Futurama. You win bonus nerdy points if you spot it too. It had me tittering away.
There are excellent characters. Genuinely can't think of any that I didn't like in some way. Rory is brilliant in this, great acting from Tremblay and he was blessed with some amazing lines. His grasp of reverse psychology had us all laughing. There's also a scene in the military facility where the Predator wakes up and I actually believed the way everyone reacted. So often it's a mass of crazed running in all directions or everyone is running for one door, but this one felt like a perfectly choreographed event. We see incredible friendships and camaraderie that really comes to the forefront in the conclusion of the film.
It seems a bit redundant to be saying this because you'd think people would know... but they don't seem to... Military weapon designers: tactical weapons that are made for covert ops and have LED lights on them are in fact not very tactical. Predators: If you just stopped playing with your prey you could have conquered the Earth years ago.
*exhales slowly* So this 3D thing... I really and truly hate space shots in 3D, especially the ones that are basically just black space and stars. Really difficult to look at. Thankfully that didn't last for too long and was replaced what was quite good effects of the spaceship jumping to Earth. There were also a few shots from the sniper perspective that worked well. The rest of the film I found that it went quite badly from fuzzy to sharp and I couldn't quite tell what was supposed to be the focus. I'd have said that was the screen's 3D rather than the film itself, but it still struck me as odd that it was going between the two. I will put it down to just a bad screening.
What should you do?
You should see this, probably in 2D rather than 3D. It's funny, full of action and just the right amount of nostalgia.
Movie thing you wish you could take home
Part of me wants the translation device. Part of me wants the invisibility ball (but not afterwards). Part of me wants that tranq gun. The opinion will change depending on how my day goes.
There's just something about "seeing" The Predator when he's invisible that really hits the spot. It gets you on the edge of the seat and fills you with just the right sort of anxiety. Had someone tapped me on the shoulder during the first time that happened in the film I probably would have swung for them while wailing like a banshee.
Lots of actors that you'd recognise from other things and everyone has their own little quirk that works well together in the scenes. It didn't feel like any of the talent was underused, which can be an issue with people in bit parts.
Who knew that Predators had a sense of humour too?! I don't think I've ever seen anyone use a severed limb in such an ingenious way before.
One bit that I really enjoyed reminded me of Futurama. You win bonus nerdy points if you spot it too. It had me tittering away.
There are excellent characters. Genuinely can't think of any that I didn't like in some way. Rory is brilliant in this, great acting from Tremblay and he was blessed with some amazing lines. His grasp of reverse psychology had us all laughing. There's also a scene in the military facility where the Predator wakes up and I actually believed the way everyone reacted. So often it's a mass of crazed running in all directions or everyone is running for one door, but this one felt like a perfectly choreographed event. We see incredible friendships and camaraderie that really comes to the forefront in the conclusion of the film.
It seems a bit redundant to be saying this because you'd think people would know... but they don't seem to... Military weapon designers: tactical weapons that are made for covert ops and have LED lights on them are in fact not very tactical. Predators: If you just stopped playing with your prey you could have conquered the Earth years ago.
*exhales slowly* So this 3D thing... I really and truly hate space shots in 3D, especially the ones that are basically just black space and stars. Really difficult to look at. Thankfully that didn't last for too long and was replaced what was quite good effects of the spaceship jumping to Earth. There were also a few shots from the sniper perspective that worked well. The rest of the film I found that it went quite badly from fuzzy to sharp and I couldn't quite tell what was supposed to be the focus. I'd have said that was the screen's 3D rather than the film itself, but it still struck me as odd that it was going between the two. I will put it down to just a bad screening.
What should you do?
You should see this, probably in 2D rather than 3D. It's funny, full of action and just the right amount of nostalgia.
Movie thing you wish you could take home
Part of me wants the translation device. Part of me wants the invisibility ball (but not afterwards). Part of me wants that tranq gun. The opinion will change depending on how my day goes.
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/