The BFG

Steven Spielberg has a solid filmography of family films, from E.T to Hook, Jurassic Park to Tintin, all of which found commercial success. But Spielberg’s latest release, an adaptation of Roald Dahl’s classic The BFG, seems to be turning into the flop of the summer. But is it deserved?

Sophie (Ruby Barnhill) is a young orphaned insomniac living in a London orphanage that she doesn’t particularly like. One early morning when all else is quiet, she sees a giant lurking about, who snatches her from her bed and takes her off to Giant Country. He introduces himself as the Big Friendly Giant or BFG (Mark Rylance), the runt of the litter and a lot smaller than the other giants. Sophie empathises with him and she helps the BFG devise a plan to get rid of the bullying bigger giants.

The BFG is one of the closer adaptations of Dahl’s work, although Spielberg does much to conceal darker themes in favour of a family friendly PG-release, surprisingly without much detriment to the end result. There’s almost never a dull moment, and whilst a lot of the humour may edge more on the childish side there’s certainly a lot for parents to like. The first two acts in particular carry the story through and explore mystery in such a uniquely Spielbergian way, and the dream catching sequence is probably the most well executed of these moments.

However after the first two acts comes a third chapter that’s more difficult to judge, on the one hand it’s totally true to the book and so should be there, but on the other it just seems so out of place that it takes away from the rest of the film. Perhaps this is an example of Dahl’s bizarre frivolities and Spielberg’s broad-audience mindset clashing. On its own it has merit but it just doesn’t sit well with the rest of the feature.

It’s difficult to fault the acting overall, Mark Rylance (who earned an Oscar for teaming up with Spielberg in last year’s Bridge of Spies) shows his breadth as the BFG and his unique take on language. Ruby Barnhill is enjoyably bossy as Sophie, and Penelope Wilton finds a comic way to play the Queen that doesn’t lean too heavily on caricature. The other giants are also very good and I was surprised to find out that the leader of the group Fleshlumpeater was played by Jemaine Clement. The motion-capture has been meticulously done, and whilst there’s still a noticeable gap between the CGI giants and the rest of the world, it’s never really distracting enough to take you out of the film.

It seems unlikely that The BFG will find the audience that most Spielberg summer blockbusters do, which is sad because whilst it’s far from his best work, it stands above most of the other films that are taking the share in this release period. The BFG is well-acted, often funny and always fun, and whilst it may not be as dark or complex as the novel, it stays true to the intentions and tone of Roald Dahl’s work.

Transcendence

Sometimes there is a concept for a film that is full of potential. The idea of the technological singularity is one such concept. The singularity is a point in which artificial intelligence surpasses that of humans. Transcendence starts on that path but then gets confusing and not even great acting from actors playing minor parts can help this lacklustre story.

I think that has to do with first time director Wally Pfister. Despite not knowing his name, I'm sure that the majority of you reading this are familiar with his work. Pfister has worked for many years as Christopher Nolan as his cinematographer on the recent Batman films among others. As a result of this work, Transcendence is a good looking film. He has been able to take his own visual style and enforce it as a director.

It can't be the actors that drag this film down either. Surely? Johnny Depp playing a straight Johnny Depp character. Rebecca Hall undecided about whether or not what is happening is the right thing. The best performances come from Paul Bettany and Kate Mara.

But even someone who has been on enough sets with a director like Nolan must have learned enough lessons about being a director. So it must be the story. This is the first script that has been produced for writer Jack Paglan. As I said, the initial concept is promising. The idea of a man uploading his consciousness to a computer, where he will cause the technological singularity is cool, but once the story became about creating human-robot hybrids I was lost.

The film is bookended by some interesting scenes where the world is devoid of technology. I feel like this would be a more interesting place to set the film with flashbacks showing us what caused it.

Verdict: A beautiful looking film that has a complete mess of a story. I think everyone in the cinema with me felt confused about what had happened.

Iron Man 3

It's taken three movies but I think I finally see the appeal of Tony Stark. His abrasiveness and bluntness add to his charm. Over the course of the last two Iron Man movies (and that massive Avengers flick), I have to come to love the man in the Iron mask.

In this first post-Avengers movie, Tony Stark (Robert Downey Jr.) is suffering from PTSD caused by the events that happened in New York. He spends most of his days tinkering with his many Iron Man suits with the help of his robotic assistant Jarvis (Paul Bettany). Stark's girlfriend Pepper Potts (Gwyneth Paltrow) is running Stark Industries. And Stark's best friend Col. James Rhodes (Don Cheadle), AKA War Machine AKA Iron Patriot, is working for the US Government.

In recent weeks, attacks by a shadowy terrorist known as the Mandarin (Sir Ben Kingsley) have been ramping up in their intensity. Pepper Potts is in talks with Aldrich Killian (Guy Pearce), a scientist who was once ignored by Tony, about some new biotechnology he has engineered.

The shit hits the fan when an attack by the Mandarin hits Tony's old bodyguard Happy Hogan (Jon Favreau). Tony reacts to this attack by saying that he is going to take revenge on the Mandarin and even goes so far as to give him his home address (via the means of good old fashioned media). The Mandarin responds in turn by attacking Stark's cliffside mansion.

Tony's suit breaks down and decides to fly across the country. He wakes up in Tennessee and finds refuge with a young boy who helps repair his suit. Once this is done, he teams up with Rhodey to take the Mandarin out.

I think what I enjoyed so much about this film is the fact that it wasn't directed by Jon Favreau (not that he's a bad director). Shane Black brings some fresh ideas and they definitely show through his directorial style.

Ever since I saw 2002's Kiss Kiss Bang Bang, I have always had faith in RDJ. He brings lightness to roles that would otherwise be quite depressing (because let's face it, Tony Stark is Bruce Wayne or vice versa). As I said earlier, Tony Stark is quite blunt and has no qualms about driving off and leaving a kid in the cold snow.

I have found that putting Ben Kingsley in a movie is great marketing (that this film doesn't really need), but he has only ever played a handful of dramatic roles. This is one of those borderline roles and once you see the film, you will agree that he is a fantastic actor. I have always been a fan of Guy Pearce (one of the first films I ever saw being made had him in it). In this movie, his devious Aldrich does whatever he wants to get his way.

Of course the most important element of these Marvel films is the stunning visuals. The seen where Tony's mansion is falling into the see is fantastic to look at and the climax of the film is even better.

Verdict: A fantastically entertaining superhero romp that is better than the last two Iron Man films combined. Lots of hilarious dialogue between RDJ and Paul Bettany.