The Borrowers review

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Like its pint-sized cinematic predecessors (such as The Incredible Shrinking Man, Inner Space and Honey I Shrunk the Kids), The Borrowers remains a classic premise: tiny characters on screen fire up big imaginations. And because it's nearly the Crimbo hols and kids are like adults - - only smaller - - they need to go to the cinema too. Fortunately, The Borrowers is no bloated, derivative, terminally unfunny pap (Jingle All The Way anyone?), the staple fare of many a dreary pressie-filled season. For a start, it looks completely fabulous, with seamless, whizzy special effects, not to mention a million huge props, which give the minutiae of life Godzilla-sized proportions. It's a film that cries out to be seen on the big screen.

And interestingly (for us older folk), the movie is both character cross-cultural, and geographically and chronologically surreal. Thus, the American Lenders (plus Goodman's evil Potter) and the British Borrowers (Broadbent, Imrie, etc) inhabit a netherworld of a '30s-inspired London, mixed up with a strangely baroque '90s New York, matte painting, skyscraper-clogged downtown. It's a halfway fantasy, where every car is a gleaming '60s Morris Minor, and where '50s-dressed Goodman (complete with pencil 'tache), has a silver '80s mobile phone.

Totally essential gold-plated kiddie flick, and a hoot for adults too. Goodman is a scream and the film's pace, length and content is bang on. It's crushingly simple: find some children (any children), head for a cinema, buy a ticket, sit down. This is gonna be huge.

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