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The BFG: Spielberg Brings Roald Dahl Classic to Life
While it may not be one of his most moving as the book on which it's based, The BFG is a technically impressive adaptation of the popular Ronald Dahl 1982 children's book of the same name which, despties of its minor setbacks, still manages to embody enough heart and whimsy to bring the much-celebrated and beloved story through to the big screen.
The story takes place in England in the 1980's and is centred on Sophie (Barnhill); a curious young orphan who, after encountering a giant (Rylance) late one night, is 'kidnapped' by the titan and is taken to the Giant Country so that she doesn't accidentally blab about his existence to the public. Luckily for her, the giant turns out to be a kind and gentle spirit who, unlike his fellow giants - who are much bigger in size and only eat children - eats vegetables and spends most of his nights capturing dreams and delivering them to those in need.
Quickly befriending her new pal, Sophie - who is quick to name him The Big Friendly Giant - is soon introduced to a whole new world. However, her presence in the Giant Country soon attracts the unwanted attention from other giants, who are led by a bully named Fleshlumpeater (Clement), who enjoy invading the human world to snatch and eat its children. Coming up with a plan, Sophie hopes that, with a little bit of help from the BFG, she will be able to put a stop to their terror.
Written by Melissa Mathison - the screenwriter of E.T who unfortunately passed away not long after The BFG finished filming - The BFG is a pleasing fantasy adventure which features an endearing story of an unexpected friendship between a human girl and a large foreign being from another world. Visually impressive and told through clever use of motion-capture technology, Spielberg spends quite a bit of time introducing us to the Giant Country, particularly the inside of The BFG's home, devoting plenty of attention to detail that helps you become fully immersed in world.
On the down side, however, fart jokes are aplenty, for some reason - something perhaps a little out-of-character for the famed director - and the story takes a while before it's given a proper goal. Luckily, though, the performances are all solid with Barnhill - who takes on her very first acting gig with plenty of charm and wide-eyed innocence - coming out on top, whileRylance is pleasing as the dippy and mumbling giant.
All in all, The BFG is a worthy and visually inspiring live-action adaptation of the celebrated novel which may not always stay on course - or breathe that Spielbergian magic we've all come to know - but it's still a relatively enjoyable fantasy adventure which both the young and old can enjoy.
What can you say about the seemingly unstoppable force that is Nicolas Cage that hasn’t been said before? A magnet for the most troubled, muddled and just generally exasperating films to hit cinemas in the last five years, his latest work in USS Indianapolis: Men of Courage does nothing to change his fortunes.
Despite being based on one a true story that has all the makings of a war epic, the Mario Van Peebles-directed USS Indianapolis bleeds all and any gravitas and emotion out of its incredibly dramatic source material.
The story goes as thus: the eponymous US Navy cruiser delivered the first parts of the atomic bomb that would go on to devastate Hiroshima, before being torpedoed by the Japanese navy, leaving some 300 of the 1000-plus crewmen dead and the rest stranded in shark-infested waters. Said sharks, along with dehydration and salt water poisoning, leave just over 300 survivors to be rescued.
At the centre of the ensuing hubbub is Cage’s Captain McVay, who many, very unreasonably, blame for the death of the 700 or so victims – so you see, it’s a very complex story, but one that very quickly descend into and exercise on how not to make a war film.
The occasional laughable CGI aside, Cage is oddly sedate, bordering on placid, in his role – yes, the central character is possibly the flattest element of the film, while seasoned actors, Tom Sizemore and Thomas Jane, are given little to chew on in their respective roles.
While starting exactly as one would expect a war film to, the wreckage part of the film turns into cheap disaster movie, before turning into a courtroom drama in the final act. It’s a muddle of a film that fails to really drum to the beat of McVay’s potentially brilliant arc as a firm commander that eventually buckles under the unjust pressure he receives back at home.
Bad CGI, a mammoth two hour-plus running time and Nic Cage can be forgiven, but what’s at the heart of this film’s mess is the script. Jumping from event to event, plotline to plotline, at a whim, with Cage’s soft murmured speech used to pave over the transitions, USS Indianapolis’s pacing is that of a film hurrying to stuff as many ideas and threads as possible – expect that’s not the case. Van Peebles tries so hard to build the layers of an epic, when, actually, all he needed to do was tell this simple but stirring story as it is.
As an exploration of Post Traumatic Stress Disorder in the military, Dito Montiel’s Man Down is a muddled story that’s pretty challenging to sit through. Though on paper there’s plenty of potential depth in this particular effect of war – and a solid cast at its disposable – the film descends into military-movie clichés, while not really keeping up with its complex set-up.
The movie to take place over four separate time periods and opens with U.S Marine Gabriel Drummer (LeBeouf) and his military buddy, Devin Roberts (Courtney), making their way through a vast and seemingly wasted American landscape which appears to have been destroyed by a chemical attack. On the look-out for survivors, the pair is hoping to find Drummer’s son, Jonathan (Shotwell), whom he believes has been kidnapped.
Before the audience gets a chance to find out what is really going in, the story flashes back to another time period where a seemingly distraught Drummer is being interviewed by Counselor Peyton (Oldman) about an ‘incident’ that occurred on the battlefield in Afghanistan. Moving on to yet to another period, we also get to see the story of Drummer and Roberts during their Marine Corps training at Camp Lejeune before, eventually, cutting to the story of Drummer’s life at home with wife, Natalie (Mara) and their son.
Taking on several narrative threads without really knowing where to take them, let alone how to put them back together, is one of Man Down’s major issues. Used to give some kind of visual interpretation of PTSD, the movie’s choppy editing is ineffective and comes across as a messy, superficial tool.
Clocking in at precisely ninety minutes, Man Down is a relatively short film but, thanks to the overworked script and slow pace, it takes forever for any of the stories to build into something bigger.
Working its way through a series of military clichés, the story works best when it is focused on digging into Drummer’s fractured mind, with the conversation between him and his counsellor – played by the seemingly wasted talent of one Gary Oldman – serving to be one of the movie’s best elements. LeBeouf is convincing as a troubled soldier desperately trying not to sink deeper into madness and his commitment to the role is commendable, making it all that more frustrating to see that the script itself is so lacking.