Adventure  Family  Fantasy  

Rotten Tomatoes Critics - certified fresh 75%
Rotten Tomatoes Audience - upright 61%
IMDb Rating 6.5


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November 16, 2016 at 2:45 am


Rebecca Hall as Mary
Bill Hader as Bloodbottler
Jemaine Clement as Fleshlumpeater
720p 1080p
864.78 MB
23.976 fps
1hr 57 min
P/S 343 / 1,694
1.78 GB
23.976 fps
1hr 57 min
P/S 551 / 1,612

Movie Reviews

Reviewed by Adam Myska 9 / 10

Well, it's not Spielberg's best effort.

The BFG is one of Spielberg's rare excursions in childish whimsy these days, as sweet and big-hearted as you'd expect from the maker of E.T.: The Extraterrestrial. Technically speaking, it's a motion capture marvel, with Academy Award winner Mark Rylance in line for another nomination, in the title role of Big Friendly Giant.Based on Roald Dahl's children's book, the screenplay by the late Melissa Matheson ? who also wrote E.T. ? relishes the author's wacky way with Gobblefunk, a silly word salad spoken by BFG. Rylance is a constant delight, chattering and chuckling decipherable nonsense like "vegeterribles" and spreading news on "the bunkum box and radio squealer."While mo-cap pioneer Andy Serkis hides behind the process, Rylance is unmistakably the digitized face of BFG. His eyes radiate their usual soft kindness, the only part of his physique that isn't digitally exaggerated. Elephantine ears, spindly appendages and buzzard neck are faked; the actor is genuine.This is, however, an easier movie to admire for its technical prowess than embrace with emotional zeal. Spielberg doesn't pull heart strings as much as push the right buttons, dutiful to an undercooked story. The BFG begins like a classic fairy tale and ends with helicopters and fart jokes, a tonal dissonance that is Dahl's fault, not the film's.Like E.T., this is a tale of a child bonding with a humane creature. Sophie (Ruby Barnhill, serviceably cute) lives in a London orphanage, waking at 3 a.m. nightly when lonely makes sense. One night she spies BFG prowling the streets, her gasps drawing his attention. He plucks Sophie from bed, carrying her to Giant Land and his lair.Much of the film's first hour occurs in these Hobbit-ish surroundings, as Sophie learns BFG is the runt of a clan of giants led by Fleshlumpeater (voice of Jemaine Clement). The others are "cannybulls" eating "human beans," and Fleshlumpeater's keen nose tells him one is near. Protecting his new, only friend is now BFG's mission.Complicating matters is BFG's nightly task, collecting and distributing nice dreams to London's children with ninja stealth. Sophie tags along against the giant's better judgement, exposing her to Fleshlumpeater's crew. Spielberg adds a fresh approach to dream-sequence technique with little more than silhouettes and a smile, a rare ingenious touch in this movie.Then comes the point when Dahl may have simply grown tired of the story, opting for an abrupt change in direction to Buckingham Palace and Queen Victoria (Penelope Wilton) calling out the army. It feels so at odds with everything preceding that intermittent delights like BFG's gigantic royal breakfast don't impress as much, when the queen and her Corgis begin breaking wind, thanks to BFG's homemade fizzy pop. Is this really the same movie we walked into?No, because Spielberg isn't the same filmmaker today. He deals much more often in fact than fantasy, and imagination muscle has only so much memory. They're flexed here in Rylance's appearance and not much else. The BFG is like hearing grandpa tell an okay bedtime story, punctuated with an underarm fart.

Reviewed by virek213 9 / 10

Spielberg In Giant Country

In terms of writing children's books, Roald Dahl has to be among the most unconventional. Instead of necessarily being safe-and-sane reading material for the younger set, his books such as "Charlie And The Chocolate Factory", "Charlie And The Great Glass Elevator", and "James And The Giant Peach" frequently evince a wicked sense of humor. And yet they have found their way into being essential reading material in libraries and for kids, subsequently becoming big-screen adventures, much like Tolkien's "Lord Of The Rings" series and J.K. Rowling's "Harry Potter" books. This also turned out to be the case for his 1982 book The BFG (standing for Big Friendly Giant), although it would take extreme advances in animation into the digital age over a three and a half decade span to get there. Fortunately, it got made, and it ended up in the hands of Steven Spielberg.In this film, Ruby Barnhill portrays Sophie, a young girl with a vivid imagination but left in a London orphanage who one night is whisked away to "Giant Country" by the Big Friendly Giant of the title, voiced by Mark Rylance (who had won a Best Supporting Oscar in 2015 for his role as KGB spy Rudolf Abel in Spielberg's Cold War drama BRIDGE OF SPIES). Barnhill is openly frightened of Rylance's slightly uncouth and menacing behavior, but she soon comes to see that Rylance himself is at the mercy of the other giants in Giant Country (voiced by Bill Hader, Jemaine Clement, and others) who are not only very mean and menacing, but who are also on the scent for any human intervention, and consider Rylance a disgrace to their kind. Rylance, talking with a vaguely Cockney accent and with a penchant for some off-color humor, sees a great deal of goodness in himself because of Barnhill's presence in his world. In the end, knowing that the evil giants plan to do Rylance extreme bodily harm, Barnhill conjures up a dream with Rylance's help to get the help of Her Majesty, Queen Victoria (Penelope Wilton) and the whole of the British military to exile the giants. Of course, the 24 foot-tall Rylance's initial appearance in the Real World, as opposed to Giant Country, is jarring to Wilton and her royal military.Spielberg, at least up until SCHINDLER"S LIST, and with a few stories beyond that 1993 Holocaust epic, was known for, among other things, placing children in extraordinary situations. The best example of that was, of course, with his 1982 sci-fi masterpiece E.T.: THE EXTRA-TERRESTRIAL, which, like THE BFG, was also scripted by Melissa Mathison, and which also featured a plethora of special effects. In terms of THE BFG, it was a story that had pretty much fascinated him from the time of the book's 1982 publication; but his interest in it accelerated when he became a father in the late 1980s. All the same, however, it took another twenty-five years for his vision of what THE BFG could be to become a reality, because he had become more involved in works that were either darker in tone or dealt with serious historical material (MUNICH; LINCOLN; BRIDGE OF SPIES). And the most ironic thing, given how the films he directed with children in prominent roles earned him comparisons with Walt Disney, is that he managed to make THE BFG for the Disney studio itself. But he also needed to make the mix between live-action and digital animation, something that he had only tried a handful of times before, work convincingly and seamlessly.Fortunately, he had found this in allowing Rylance to essay the role of BFG; and though a fairly obvious mix of the two styles, the mix of animation and live action works with another solid performance from Rylance. Barnhill also gives one of the best performances by a child actor in Spielberg's canon, right up there with Henry Thomas' in E.T., Haley Joel Osment in A.I.: ARTIFICIAL INTELLIGENCE, and Joseph Mazzello and Ariana Richards in JURASSIC PARK.The film, which is dedicated to Mathison (who passed away in 2015), also features the return of John Williams to the Spielberg film-scoring fold after turning over the reins to Thomas Newman on BRIDGE OF SPIES. Though some of the "humor" in THE BFG is not necessarily for all kids, this doesn't mean it's a bad film by any stretch of the imagination. In fact, it is a really solid film by every stretch of the imagination.

Reviewed by leosmith-11166 9 / 10

Spielberg + Dahl + Disney = Magic

In recent years our good friend Steven Spielberg has been dishing out biopics and war films (War Horse, Lincoln and Bridge of Spies). But with the BFG, Spielberg allows himself to unleash his creativity and imagination that made him popular as a filmmaker in the first place. The film holds the same amount of magic and nostalgia as E.T or Jurassic Park. It's whimsical, humorous and at times emotional. Of course, we have to also give all due credit to Roald Dahl, who conjured up this simple, but enchanting story of a young orphan and a Big, Friendly Giant. His book was then exceptionally adapted by the late and great Melissa Mathison(who was also the screenwriter of E.T) . Her screenplay was then Moulded and translated by Spielberg, who did a fantastic job of bringing the characters up off the page and onto the screen. The film shows his visionary approach to directing, and displays the power of his imagination.The film, by all means, isn't for everyone. It is certainly no "intellectual" and I'm sure that the film buffs in the audience could identify dozens of plot holes. It is not thrilling, nor is it romantic. It tells a very basic story, and it's loaded with "cliche" Spielberg nostalgia. But if you are a fan of Dahl, Disney, Spielberg or the Magic of Cinema, this is a must see. It's a feel good story, captured in the most magical way. Forget Harry Potter and his wizardry, this is real Magic.

Reviewed by kinolieber 9 / 10

So good I immediately went to see it again

This film is so rich in every department: visually, musically, in its excellent, charming, witty script, and the casting of actors who bring their best to the screen in their roles. For once a children's tale without the tiresome clichés that currently dominate kids' movies; a sometimes quiet and intimate film with sensitive, feeling characters who talk to each other in longish dialog scenes. This is a fable in an old fashioned mode, and yet is made from pure 21st century movie magic. As great as Mark Rylance is, and he is amazing, Penelope Wilton is unbelievably funny as a combination uptight, take charge and yet completely empathetic Queen. The whole breakfast scene, in fact the entire Royal Palace section, is one of the funniest things I've seen in ages. The film is doing poorly at the box office so catch it on the big screen before it's gone - it's absolutely gorgeous. And speaking of gorgeous, John Williams, collaborating with the some of the world's greatest musicians including Heather Clark on flute, has written a symphonic work that underscores just about every minute of the film. It's a masterpiece that ranks with the very best of what he has written for film in his long career.

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