The BFG

It might not be a towering cinematic achievement, but The BFG has a heart larger than the stature of its title character.

The fantasy-adventure combines the considerable talents of director Steven Spielberg and beloved children’s author Roald Dahl, with the filmmaker visually capturing the resplendent imagination of the book without losing the wit and charm in its text.

Set during the 1980s, the coming-of-age story chronicles Sophie (Ruby Barnhill), a precocious 10-year-old insomniac stuck in a London orphanage. One night, she’s shocked when spotting a giant 24-foot man with exaggerated facial features prowling around outside the window.

Afraid she would rat him out, the giant kidnaps the strong-willed youngster and whisks her away to his remote cave in Giant Country, where he’s considered an outcast because he doesn’t feast upon children like the other giants. So Sophie develops a gentle rapport with her captor, who she nicknames the BFG, or Big Friendly Giant.

Eventually, she helps him refine his ways and tries to become the conduit for a peaceful coexistence between humans and giants, even visiting Buckingham Palace to enlist the help of Queen Elizabeth.

The BFG is an impressive technical achievement, to be sure, with Spielberg’s usual collaborators (including ace cinematographer Janusz Kaminski and legendary composer John Williams) delivering top-notch contributions.

More specifically, the film seamlessly combines live action and motion-capture animation with 3D effects. It not only realizes an elaborate vision of its dreamlike world, but it wonderfully conveys the size juxtaposition between its two species.

Although it meanders through the first half, the screenplay by the late Melissa Mathison — who previously wrote for Spielberg on E.T., to which this doesn’t compare despite some thematic similarities — opens up to become more breezy and playful in the final hour. Along the way, children should identify with the resourceful protagonist and appreciate the heartfelt lessons about courage, kindness, self-esteem, the power of imagination, and not being judgmental.

The film’s interpretation of Dahl’s dialogue is a particular delight, highlighted by the BFG’s garbled words like “snozzcumber” and “frobscottle” and other sheepish malapropisms that are superbly interpreted by Rylance (Bridge of Spies).

Perhaps The BFG could use more depth or darkness, or maybe it misses an opportunity for some satirical jabs at Thatcher-era England, considering its royal references. However, it’s still a crowd-pleasing tribute to the source material that should enchant a new generation.

Rated PG, 117 minutes.