REVIEW: The BFG

Courtesy of Disney

One of the many reasons Steven Spielberg is my favorite director is that, even though he’s certainly among the most commercially successful filmmakers in the history of cinema, he’s never forgotten the importance of awe. Think about how many iconic images he’s been responsible for and how those moments made you feel.

Chief Brody getting his first glimpse of the shark. Indiana Jones running from a giant boulder. E.T. making those bikes fly. Alan Grant’s emotional reaction when he realizes he’s looking at real dinosaurs. Oskar Schindler seeing the little girl in the red coat. Captain Miller and his men storming Omaha Beach.

Those moments of wonder – sometimes beautiful, sometimes horrifying – might be the closest we can come to real magic. Any director would be lucky to have just one of those in his career. Spielberg’s got dozens. That’s why I get a little irritated when someone dismisses one of his movies as “mid-level Spielberg.” True, not all of his films are winners (sorry, Hook and Crystal Skull), but other filmmakers would kill to make a movie as good as his “worst” stuff.

The same holds true for his latest film, The BFG. His adaptation of Roald Dahl’s beloved story probably isn’t an all-timer like E.T., his first collaboration with the late screenwriter Melissa Mathison (this was her final project), but it’s full of gorgeous, stirring imagery that reminded me why I love movies.

The tale introduces viewers to Sophie (newcomer Ruby Barnhill), a young orphan who lives a mundane, solitary existence. She doesn’t seem to have any real friends – aside from a cute orange cat – and the orphanage’s headmistress doesn’t even realize how much she helps out around the place.

That changes one night when she witnesses an unusual sight – a giant (Mark Rylance, reuniting with Spielberg after winning an Oscar for Bridge of Spies) walking right past her window. When he realizes he’s been spotted, he snatches Sophie up with his massive hand and transports her to his home in the land of giants.

Although terrified at first, Sophie learns the giant doesn’t want to hurt her. It turns out he’s a vegetarian who spends his evenings putting nice dreams into sleeping children’s heads. They quickly develop a strong bond and he decides he wants to be called The Big Friendly Giant. Sophie goes with BFG for short.

Unfortunately, she learns that not all giants are as nice as her new pal. BFG has a host of big brothers who bully him and enjoy eating children as snacks. Concerned for her new friend’s happiness, Sophie hatches a plan to get rid of the evil giants so BFG can live out his days in peace.

As the film established its plot, involving an orphaned child who discovers a magical world where she’s far more valued, I realized that Spielberg has made his Harry Potter. Yes, I know The BFG was written 15 years before J.K. Rowling wrote Philosopher’s Stone. But Spielberg was once in early talks to helm the film version; it made me wonder if any of his ideas for that movie ultimately evolved into this adaptation.

No idea if that’s the case, but, regardless, The BFG should have no problem entertaining kids and adults alike. The methodical pacing might make younger viewers antsy, but plenty of sequences should have them gaping in wonder just like everyone else in the audience.

Simply put, the film is beautiful. Spielberg still knows how to compose a terrific shot, and Janusz Kaminski’s stunning cinematography makes every scene look like a storybook magically came to life. Whether it’s the dreary orphanage or a jaw-dropping sequence where Sophie and BFG go dream-catching, practically every shot is a painting.

It helps that Rylance’s BFG, along with his villainous kin, are made slightly cartoonish through motion capture, giving the proceedings a heightened sense of reality. The process avoids the uncanny valley that Spielberg’s protégé Robert Zemeckis stumbled into with The Polar Express and Beowulf, and instead enhances Rylance’s distinctive features to make him look like he comes from a world that’s close to – but not the same as – our own.

Performance-wise, Barnhill is mostly strong. She resorts to a handful of standard child actor tropes now and again, but her chemistry with Rylance ultimately outshines the few missteps in her performance. Speaking of last year’s Best Supporting Actor winner, the guy is simply incredible.

Despite acting on a stage with a bunch of computerized dots on his face, Rylance allows his endearing humanity to emerge in BFG. It’s no wonder he seems to have become Spielberg’s newest muse; this marks their second collaboration together and the actor is currently onboard to star in the director’s next two films (The Kidnapping of Edgardo Mortara and Ready Player One).

The BFG is essentially a two-actor show, but the film’s second half also boasts memorable supporting work from Penelope Wilton, Rebecca Hall and Rafe Spall. It would be cheating to discuss their characters in greater detail, as discovering the parts they play in the story leads to some of the most entertaining scenes.

Those looking for intricate plotting or heightened momentum should know The BFG isn’t that kind of movie. It’s a “hang out with these characters in their world” story instead of one driven by a ticking clock. But if that sounds like your cup of tea (or bottle of frobscottle, if you’re BFG), you should have fun.

The BFG is rated PG for action/peril, some scary moments and brief rude humor.

Grade: B