Wed, December 7, 2016
Evidence that performance capture has developed to the point where it adds something useful to the animator's work, rather than making everything look creepy. Rylance captures BFG perfectly, and Spielberg returns to a place of whimsy and spectacle. Which is sometimes where he gets lost (cf. Hook), but Dahl's text proves a better guide—with his trademark subversive goofiness built in.
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