a stretch of an undercooked script..
Burton’s another avant-garde fictional bubble unfortunately backfires vigorously and the primary reason to that is his commitment to the practicality which he never fails to hold on to completely. Wallace’s novel has enough room for the tale to be both practical and fictional, his characters can fly and still be grounded. And frankly August’s adaptation doesn’t have that. And it itches the picture throughout the course and is why Burton keeps leaning on to practicality, he somehow feels obliged to keep it true and on track. As far as all the tactics that paints the fantasy world on screen, it is Burton’s home ground.
That half of the tale is not only intriguing but exhilarating to encounter, it is also emotionally fueled. The emotions, in fact are real, the giant, the red car, the daffodils and the witch, these are the facts. And Burton never feels short handed in such genre. Ticking for two hours, the overkill sets in early. And that somehow fortunately follows up to be McGregor’s strength. He gets enough time and range on screen for us to fall in love with him, when he does, and laugh at him when he is having fun. But personally, I prefer, Ed Bloom when Finney plays it.
He is more mature and overprotective as much as stubborn he is. His last act with his son is what the entire movie thrives on. The supporting cast like Cotillard, Crudup and Carter fails to live up to the lead ones. Burton emerges the emotions aptly on screen, it’s the mechanism that it follows needs some polishing. Merely as a concept wise, it can be an intriguing discussion for a dinner table conversation but as far as major motion picture is concerned, Big Fish is frankly a stretch of an undercooked script that should have broken up a long time ago.