After his success film animating the comic book series “Tintin”, Spielberg used the knowledge he acquired to tackle a bigger challenge in adapting Roald Dahl’s The Big Friendly Giant. The world is as engrossing as always, mixing digital and live action in an unobtrusive way that adds to the general ambience. In a way, he manages to tell a fairytale story that feels just right, neither too real nor too fictitious, and 3D viewing is a must, as the movie breathes and deepens with every puddle of water, street corner, alley and house. The added profundity from 3D means that viewers can almost peer inside the little intricacies of Spielberg’s universe in what can almost be considered a microcosm. Unfortunately, the child actor isn’t up to the task of transmitting or expressing emotions that feel authentic, and the plot becomes dull after the second half of the film. Sadly, this isn’t because of the movie per-se, but only because the BFG has a plot that doesn’t bode well in its transition from printed media to theatre.
At first sight, Anomalisa might be confused as being another animated film, catering to young audiences and with friendly tones and easygoing plots. But for those curious enough to watch this concealed gem, Anomalisa brings a very adult film brimming with hidden meanings, certifying just how deep Kaufman’s work can be. Stop motion animation works favorably in this case, and beholds a unique style when telling the sad tale of Michael Stone, the main protagonist. He is a puppet, and his mask represents society as a whole, from which he desperately wants to escape (along with the monotonous tones of those around him).