The BFG (2016)

Debruge finds the adaptation splendid and charming, with the makings of a family classic. He especially praises Mark Rylance’s nuanced performance and the hypnotic dream-gathering sequence.

The critic finds it a delightful Spielberg film, though not a great adaptation of Roald Dahl. She praises its moments of wonder, spectacle and joy, especially the scene in which the BFG catches Sophie as she falls.

The review presents the film as a magical adaptation of Roald Dahl’s children’s story. It singles out Spielberg’s reunion with Mark Rylance as a strength.

The review finds the film a soulful, imaginative delight, though not one of Spielberg’s definitive works. It especially praises Mark Rylance’s performance and the dreamlike visuals of Dream Country.

The review finds the film charming but uneven. It praises the warmth of Sophie and the BFG’s bond, brought to life through Spielberg’s visual craft.

Gray finds the film mild and emotionally slight, but says its visual wonders make it worthwhile. He especially praises its quietly inventive dream imagery and photorealistic visual magic.

Brooks finds the film sweet-natured and carefully made, with its strongest moments in the BFG and Sophie’s nocturnal adventures. He praises Mark Rylance’s gentle performance and the film’s dreamlike imagery, while noting a conservative misstep in its use of the Queen.

Kohn finds the film likable and visually impressive, but ultimately conventional and short of Spielberg’s more inspired work. He singles out the dream-country sequence and its distinctive effects as especially magical.

Edelstein finds the film visually sublime and affectionate, though its middle section becomes overly airy and ungrounded. He especially praises Mark Rylance’s tender, musical voice performance as the BFG.

Smith finds the film magical and visually delightful, though its middle section is slow and repetitive. She especially praises Mark Rylance’s gentle performance and the thrilling final act.

Sexton finds the film a worthwhile but only partially successful return to children’s fantasy, ultimately a treat for kids rather than a crossover. He praises Mark Rylance’s warmly charming performance, while noting that some of Roald Dahl’s nastiness has been softened.

Chang finds the film only partly successful but ultimately warm, graceful, and full of childhood feeling. He especially praises Mark Rylance’s performance, whose distinctive voice gives the digital giant his soul.

The visible page identifies this as Screen's Cannes review of Spielberg's 2016 film. The paywall hides the critic's verdict and any specific praise or complaint.

The page’s URL identifies this as a review of the 2016 film, but the article itself is inaccessible. Its verdict and any specific praise or criticism cannot be verified from the available text.

Dowd finds the adaptation overly faithful yet unable to capture the book’s charm, leaving its fantasy feeling diminished on screen. He praises Spielberg’s visual effects and highlights the atmospheric London opening as a standout.

Jones finds the adaptation visually dazzling but emotionally remote and muted. He praises Mark Rylance’s motion-captured performance, while criticizing the sluggish first half and awkward lowbrow humour.

Macnab finds the film enjoyable but slight, and says it is not Spielberg at his best. He praises its gorgeous visuals, inventive effects and Mark Rylance’s understated performance, while faulting the skimpy plot.

Brody finds the film mostly forced, bland, and overmanaged, despite a brief moment of genuine danger. He praises the early scenes of the giant moving through London for their simple, authentic sense of wonder.

The headline signals a strongly positive verdict. It singles out the film as wondrous and heart-melting, but the review text was inaccessible.

The review finds Spielberg’s adaptation charming and a lovely swansong for screenwriter Melissa Mathison. It praises the film’s patient focus on small moments and Mark Rylance’s motion-capture performance.

The review finds the film spirited and fun, though it falls short of becoming a Spielberg childhood classic. It singles out Mark Rylance’s gentle, expressive performance as especially winning.

The review finds the film charming in places but ultimately unable to resonate with adults. It singles out the phosphorescent dream-gathering world as its most mesmerizing scene.

Hammond finds the film a charming, old-fashioned family adventure, though not quite in the league of E.T. He especially praises Mark Rylance’s performance and the CGI work that makes the BFG feel human and expressive.

Mowe finds the film charming but less magical than Spielberg’s E.T., with some repetitive scenes that drag. He praises Ruby Barnhill’s performance and the comic energy of the later Buckingham Palace scenes.

Snydel finds the film visually magical but narratively flat and unsure of its purpose. He praises Spielberg’s staging of Sophie’s perilous encounters with oversized objects, while criticizing the story’s lack of earned spectacle.

Shoemaker finds the film charming and technically impressive, but uneven when its sentiment becomes too precious. She especially praises Mark Rylance’s subtle performance and the playful Buckingham Palace sequences.

Douglas calls the film a dreary, boring adaptation that fails to capture the source material’s wonder. He praises Penelope Wilton’s lively Queen sequence, while criticizing the film for talking down to all but the youngest children.

The critic finds the film fitfully amusing but not especially magical, with its character more memorable than the movie. Mark Rylance’s melancholy performance as the BFG is singled out as its heart.

The critic finds the film charming in places but ultimately underwhelming and forgettable. The friendship and vulnerable moments between Sophie and the BFG earn praise, while the tedious pacing and focus on derivative action disappoint.