Steven Spielberg’s The BFG is a gentle, well-intentioned adaptation of Roald Dahl’s 1982 novel, but it never quite grows to the size of its ambitions. At 117 minutes, the film is a family-friendly fantasy that aims for wonder and settles for comfort. It’s a pleasant, sometimes funny watch, but it rarely reaches the heights of the original story.
Trailer, via Walt Disney Studios Philippines.
The Giant and the Girl
The core relationship between the BFG and Sophie anchors the film. Mark Rylance plays the titular giant as a kind, clumsy soul who speaks in a distinctive, childlike cadence. Ruby Barnhill, playing Sophie, brings a sharp intelligence and bravery to the orphaned girl who befriends him. Their scenes together, especially the ones where the BFG teaches Sophie to read, are the film’s best moments. The chemistry between the two actors is genuine, and it’s easy to see why the filmmakers settled on Barnhill after her audition at Lower Peover School.
The BFG is a creature of habit, a solitary dreamer who catches good dreams and sends them to children around the world. He is also a coward, unwilling to risk Sophie’s safety by confronting the man-eating giants who threaten humanity. That tension gives the story its emotional weight, even if the film doesn’t fully explore it.
The Man-Eating Giants
The supporting cast is a mixed bag. Jemaine Clement voices Fleshlumpeater, the leader of the man-eating giants, with a theatrical flair that suits the character’s villainy. Bill Hader voices Bloodbottler, the disheveled advisor, bringing a nervous energy to the role. The other giants — Butcher Boy, Bonecruncher, and Gizzardgulper — are voiced by a roster of British character actors, each with a distinct look and mannerism.
The problem is that none of these giants are given enough room to breathe. They’re introduced quickly, listed off almost like a checklist, and then left mostly to lurk in the background. The film’s climax, where the giants invade the human world, feels rushed rather than climactic. The audience never gets to know these villains beyond their names and their hunger for children.
What Works
- The relationship between the BFG and Sophie is the heart of the film, and it beats strongly.
- Rylance’s motion-capture work is expressive and grounded.
- Barnhill holds her own opposite a giant, carrying the film’s emotional weight.
- The dream-catching sequences are visually inventive and fun to watch.
What doesn’t work:
- The man-eating giants lack individual menace because the film never gives them scenes of their own.
- The pacing drags in the middle stretch, where the story stalls while Sophie learns about Giant Country.
- The humor leans heavily on physical comedy, which doesn’t always land with adult audiences.
The film’s tagline promises a world bigger than you can imagine. It delivers on the visual scale — the landscapes of Giant Country are impressive — but it fails to make the giants feel truly threatening. The BFG is supposed to be the protector, but the film never quite trusts him to act on that role. Instead, the threat is mostly delegated to the man-eating giants, who remain abstract forces rather than real dangers.
Final Verdict
Spielberg’s The BFG is a safe, polished entry in the genre of family fantasy. It doesn’t reinvent the wheel, but it doesn’t need to. The story is simple, the stakes are clear, and the performances are solid across the board. Barnhill’s Sophie is the standout, carrying the film’s emotional weight with a natural charm that sets her apart from the giants around her.
The film’s biggest flaw is that it never commits to its own premise. It presents a world of giants, but it treats them as a curiosity rather than a genuine threat. The BFG is a gentle giant, and the film never quite finds the courage to make him face the monsters he fears.
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