Roald Dahl and Steven Spielberg are significant parts of many childhoods. Both artists use an exquisite method of storytelling that captures that most elusive of elements – true wonder. It is, therefore, perhaps surprising that Spielberg has not directed an adaptation of a Dahl novel until now, but it was the worth the wait as The BFG delivers exactly what could be expected of this dream combination. From the lovingly crafted streets of London to the intricate maze of the Big Friendly Giant’s (Mark Rylance) home and workshop, Spielberg and production designers Rick Carter and Robert Stromberg place the viewer in the position of the enchanting Sophie (Ruby Barnhill) as she learns about giants, Giant Country and dreams. DOP Janusz Kaminsky lenses the film in soft hues, while capturing two bravura sequences in single shots. These set pieces convey wonder and thrills both as spectacle and experience, while screenwriter Melissa Mathison imbues the Buckingham Palace sequences with Queen Elizabeth II (Penelope Wilton) with laugh out loud comedy moments. Performance capture and digital effects bring the BFG to startling life, Rylance’s performance one of charming innocence which rivals that of Sophie. This guileless innocence and childlike charm are the greatest strengths of the film, even if at times it is thematically insubstantial. Reminiscent in its finest moments of Spielberg and Mathison’s previous collaboration, E. T.: The Extra-Terrestrial, The BFG confirms Spielberg’s place as Hollywood’s enduring crafter of cinematic dreams, and the timelessness of Dahl’s beautiful storytelling.