While subjected to the horrors of World War II Germany, young Liesel finds solace by stealing books and sharing them with others. Under the stairs in her home, a Jewish refugee is being sheltered by her adoptive parents.
It’s hard not to be moved by the story, but it’s only a handful of great performances that save it from underwhelming. Steal the book instead.
Brian Percival's moving and well-acted WWII adaptation let down by hurried plotting.
The Book Thief simply suffers from an excess of taste, with its weakness for pretty pictures, photogenic youngsters, and hammy “ach liebling” acting.
Some good performances, impeccable craft and good intentions can’t compensate for a lack of dramatic urgency and emotional heft. The Book Thief is effective, but not effective enough.
Verdict: Third Reich-of-passage story.
The performances are admirable and engaging but the story is short on drama and emotional impact.
The result is a film that fails to capture with any authenticity the bewilderment of its young heroine, especially as she becomes a witness to the incomprehensible horror encroaching on both her childhood and humanity as a whole.
Heady stuff, but this is smart, searing filmmaking with daring lead performances.
The swirling John Williams score and unabashed sentimentality don't help a film that would surely have benefitted from taking a tougher approach.
It's a worryingly lenient and obtuse approach to history and historical evil, which are smothered in feelgood tragi-sentimental slush.
Clearly designed as Oscar-bait, this tellingly goes into tonight's ceremony with a single nomination to its name – for John Williams's score.
Who exactly is the The Book Thief aimed at?
Markus Zusak, Sophie Melisse on The Book Thief film
General release. Check local listings for show times.
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