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"The Book Thief" is certainly a rare kind of film for its day. It gleams like the sun, glistens like rays on the surface of water - for here is a dark tale that lights up the very soul.

I've read several 'professional' reviews for this work and it seems too easy for some Critics to sit in their comfortable cinema seats, or arm chairs in the safety of their homes, and write, what often amount to trite comments. They can read meaning (often their own) into works of crude ugliness, yet feel they have to hide from life affirming warmth.

From the very opening scenes this film draws you in. Some did not like the fact that death (as voice over) begins to tell the story, but this also served to make it all the more compelling. Screen play adapter: Michael Petroni who's been associated with such diverse works as "The Rite" and "Narnia" is equally at home writing for the BIG screen as well as TV. As is talented Director: Brian Percival (Downton Abbey & North and South) Both seem to have given their all, and with no less than 6 various producers, there seemed to be plenty of money to assure superb production values ~ guaranteeing a great look and feel. Director of Photography: German born Florian Ballhaus, captures the magnificence of the carefully selected locations, lifting astounding images from the pages of the book onto the screen.

The cast all work hard to bring to life the characters from Markus Zusak's novel. Child actors can sometimes be hit or miss but award winning Sophie Nelisse (Liesel) is reminiscent of the great Patricia Gozzi from the 60s (Sundays and Cybele '62 & Rapture '65) She convinces over a full range of emotions. Young Nico Liersch scores equally as Rudy.

Some cynical critics seem to have difficulty in understanding the intellect of children forced to grow up in terrible circumstances and may have been unnecessarily harsh. Rush is reliable as always, managing to convey the emotions of a man living with fear, yet playing it down for the sake of his young adopted charge.

John Williams' multi-layered music score brings to mind the style of strong scores that helped breath life into great classics from the past.

Films of this quality have become rare in these days of often foolish, Hollywood comic book action blockbusters, but it's hoped this, along with 'The Railway Man' might see us treated to more intelligent modern cinema. If I'd change anything, perhaps it could be the anticlimactic style of the closing scenes ~ looked as if more may have been added as afterthought, through one too many fade outs (a very minor point)

But more importantly, perhaps, some cynical critics may also be 'reminded of their humanity'.

Orange Wednesday's are a weekly escape from the monotony of the working world (New Teacher - Little money - Stressed - Used to do absolutely nothing at Uni). Therefore over the last couple of years, as you can imagine, the cinema has been overused and a plethora of films have been watched, reviewed and loved. Being a sap myself and an ability to completely immerse myself within a movie; the usual comment coming out of the cinema is: "That was the best film I've ever seen!"...

Obviously that is never actually true, and probably isn't for this film, however I again came out the cinema saying the same thing. Within the first two months of this year: Wolf of Wall Street, 12 Years a Slave, American Hustle and Dallas Buyers Club...Now The Book Thief!

Now I had no idea what the film was about before stepping in the cinema, except a girl who steals books in the war. Even half way through I thought this film was a heart warming film about the war through a child's eyes. I was WRONG! If you know nothing about the story, the film is beautifully written, acted, portrayed (Life of Pi creators, done it again) and has bags of shocks, emotion and heartache. The other lad who viewed the film with me(In the same boat work wise) I have never seen cry. That man was broken!

The young actress, is going to be a superstar. Geoffrey Rush, although portrayed a "Disney Dad" as some reviewers suggested; was inspirational and perfectly cast, when compared to the book, which I have now read.

Another reviewer trashed the use of "bits of German" - You sir, are a fool. This is not Hollywood tact, the book does exactly the same thing and therefore the film took that same role.

Another reviewer gave the film "1 star" (Mainly due to the film not being realistic in 3 parts, which all played no real role in the film and therefore a poor point to make) It's a story based on some real life events, not a true story.

Rant over though, this film truly moved me (23 year old male) I know, I hid it well in the cinema! The film is just a Must see and although I probably wouldn't rate it 10 star (I never rate that highly) I felt I needed to raise the profile, due to people who have too much time on their hands to pick holes in minor parts of films and have to have their films more like a documentary, then a masterpiece for all warps of life and ages.

I will be using this in school as soon as it is out and will be a fantastic tool for developing writing!

Cracking film!

For the most part, you will come out seeing this film with what you expect. "The Book Thief" takes place during the Holocaust, a subject seen in many other renowned films, but the beauty of this story comes from the perspective viewers get - that of a child's.

There is an excellent blend of different pieces that move the film along well - the violence and the intensity of the time period, the touching relationships between friends and family, and the humor they all share. Though it's nothing new, the writing and lines are still great and make the characters very likable. Performances by the entire cast, no matter how small or large a role they play, are certainly deserving of praise. Even with all the dramatic events surrounding them, it is easy to get caught in the relationship between Geoffrey Rush and Emily Watson as the familiar nagging parents of Liesel.

The various sets of the film - backed up with some clean, beautiful cinematography (yet nothing too astounding) - show several different parts of the town, but you are still left wanting to see more of this world. Which is where the film falls in general. For the majority of the movie, you are invested into these characters and you follow their time through WWII, and much goes on. The ending, however, comes rather quickly and you are left with that same feeling of wanting to know more. Not just of the ending, but everything before. It seems every time a moment - of suspense, of sadness, or happiness - comes, it holds on for a short while, but cuts off before you can fully take it in.

Still, the film gives a touching story to watch. The subject matter is obviously very serious, but the story of "The Book Thief" allows a wide range of people to watch this and understand, be it a young child or an adult. The characters are the best part of this film and I found them very enjoyable. The film is rather traditional and almost doesn't fit in with the rest of today's movies, but rather reminded me of many other older classics.

No extended fight scenes. No unnecessary pyrotechnics. Simply a story of ordinary people conducting themselves in extraordinary fashion when faced with the hell of Hitler's Third Reich and World War II.

The literary vehicle of Death as the Narrator is a masterstroke, as is the overall emphasis of words/books/art overcoming evil.

And it's all done with compassion for children at their best and most vulnerable, and adults bypassing the convention of the era to display kindness, caring and understanding.

An understated classic, there aren't enough movies like this being produced.

And that's a damn shame.

Those familiar with the 2005 award winning and best-selling novel by Australian author Markus Zusak will not be disappointed with the theatrical version which differs from the book in only minor details. Both tell the story of a preadolescent girl who is adopted into a German family living in a small village in 1938, and then by following her life we get to view war on the home front for Germany. Nazi rallies, anti-Jewish pogroms, Hitler Youth groups, conscription, book burning, daylight bombing, propaganda films and posters, and the whole gamut of events are seen from her perspective.

This isn't the first film to adopt this perspective. "The Diary of Anne Frank" is the classic example, but more recently, "No Place on Earth" (2013) covered some of the same ground as did "The Boy in the Striped Pajamas" (2008) and especially "Lore" (2012).

"The Book Thief" has wonderful photography by Florian Ballhaus, an excellent musical score by Golden Globe and Oscar winning John Williams ("Schindler's List", "ET", "Star Wars"), and best of all, marvelous acting from Sophie Nelisse as the young girl, Geoffrey Rush and Emily Watson as her adoptive parents, and Ben Schnetzer as the Jewish boy they hide. Many of the core scenes with Nelisse, Watson, and Rush should be required viewing at any acting school.

Hats off too to young Nico Liersch who plays a boyhood friend of Nelisse.

If the film has any fault at all, it is the decision by the film makers to try to walk a fine line between drama and fable. Having "Death" as the narrator right from the start seems to suggest fable, but the story itself veers sharply to drama for most of the 2+ hours, and then, noticeably at the end, reverts to fable. Some viewers may find this disconcerting. But the power of the story and the acting generally compensate for this short coming.

This is a flat out amazing film. It's nuanced, extremely thoughtful and features some of the strongest performances of the year. If I had a vote, we'd get another young teenage girl nominated for "best actress" in a lead role for Sophie Nelisse's amazing work. Everyone's work here is award worthy. Sure, the subject matter may seem like a rehash (The Diary of Anne Frank"/"The Boy in the Striped Pajamas"/The Pianist") but it really isn't. It's fresh, and packs the most emotional impact of any film that I've seen all year. Captivating and extremely powerful, the film is hauntingly beautiful. It moves at an effortless pace which allows the viewer to become immersed in the realities of Liesel's situation. That pace may not be for everyone but I found it to be perfect. Everything breaths properly and every connection made is heartfelt and meaningful. The literary vehicle of death as the narrator really is a masterstroke and works perfectly. It starts the film and finishes but is never intrusive.

I honestly feel this film is an instant classic. It really stayed with me after watching it and I'm still moved by its impact.

Many books have been deemed 'unfilmable' - but anyone who's read Markus Zusak's heartbreaking, thought-provoking The Book Thief would think it especially so. An often grim, unrelentingly dark and yet sadly uplifting novel about Nazi Germany in the throes of World War II - narrated by Death itself? Reviews for director Brian Percival's lush, snow-swept movie adaptation have not been kind, suggesting that the book would have been better left alone. It's true, of course, that Zusak's story and characters suffer somewhat in leaving the page. But the film and its titular book thief nevertheless possess a bittersweet charm, buoyed by a host of unforgettable supporting characters.

As the clouds of war and death gather over Germany, Liesel Meminger (Sophie Nélisse) meets her new foster parents: kindly Hans (Geoffrey Rush) and the remarkably abrasive Rosa (Emily Watson). She tries to settle into her new home and school life, striking up a spiky friendship with kiss-hungry Rudy (Nico Liersch) and learning how to read by going through a macabre book about grave-digging with Hans. But, just as she's starting to grow accustomed to her surroundings, Liesel's life will soon change all the more, when Max (Ben Schnetzer), a young, hunted Jew, comes to stay.

As a film, The Book Thief works quite well. Liesel's literary thievery is given a nice cinematic touch: when she snatches a forbidden book off a bonfire, the secrecy of it steams hot and red through her coat. The crucial relationships between Liesel and her extended family - including Rudy and Max - are also given plenty of depth and heart. By the time the bombs start raining down on their little town, the emotional stakes are as high as they need to be. Percival handles some crucial scenes with just the right amount of sentiment, particularly the snowball fight that erupts in the basement: a moment of pure, unexpected joy stolen from a world broken by war and genocide.

The Book Thief benefits greatly from its excellent cast. Nélisse - still so young and raw - wanders effectively through war-torn Germany: she is the focal point of both book and film; the child-like eyes through which we witness great love and also enormous hatred. She's ably abetted by Liersch, a cheeky triumph as Rudy, a character so full of life and charm that he'll warm and break your heart many times over. Rush and Watson, of course, are very good indeed - the former embodies Hans' gentle, loving soul; the latter hides a huge heart beneath the prickly armour in which she cloaks herself all day.

To be perfectly fair, the film occasionally falters beneath the weight of one too many wartime clichés. Without the benefit of a stronger narrative voice (Roger Allam's Death pops in only once in a while to propel the tale forward), The Book Thief feels safe and conventional when some of its ideas are anything but. It's a story, really, of institutionalised death-mongering and the most dangerous and quiet of rebellions, but that doesn't always come through as strongly as it should. The decision to sprinkle some German dialogue into the film feels jarring as well, although that's how Zusak's novel (originally written in English) unfolds.

As for its merits as an adaptation - by necessity, The Book Thief leaves out details galore and metes out tiny injustices to several supporting characters, many of whom arguably represent some of Zusak's greatest insights and ideas. Tucked away in the background is the sad, bitter backstory of Ilsa Hermann (Barbara Auer), the mayor's wife from whom Liesel also filches a few books. Stripped from the film, too, are those characters who have completely bought into the Führer's worst philosophies - including Hans and Rosa's biological son. That removes much of the brooding complexity of the novel, which takes time to consider the collective and individual burdens of guilt borne by Germany and its citizens in relation to the Holocaust. Worst of all is the loss of Death's unique narrative cadences, his grasp of the English language both weird and wonderful.

But, on the whole, The Book Thief is incredibly faithful to the spirit - if not the letter - of Zusak's book. With a few stumbles and omissions, Liesel's heartbreaking journey towards finding - and, inevitably, losing - a family of her own is preserved, and quite affectingly translated on screen. In that sense, while the film may have lost quite a bit of the novel's darker bite and punch, it remains a powerful tale of human connections: the ones we make out of love and fear, and the ones that sustain us in the darkest of times.

9.5. I'd love to give it a 10, but having read the book, I know there were a couple of things they could have done to make it even better. The film was stunning nonetheless.

I had very high expectations going in and honestly, from the trailer, I was prepared for a let down. Nothing of the sort. The scenery was breathtaking and captivating, and I felt transported, insulated from the realities of a terrible war in a terrible time by the endearingly human performances of the actors and the depth they lent to their characters.

The only complaints I have would be slight spoilers for both the movie and the book and since I highly recommend both, I'll save them.

A powerfully emotional treat you won't regret. Go see it!

As you know, this movie is an adaptation of the book named the same "The Book Thief". The movie is good, people who watch the movie without reading the book would like it.

I had read the book first and then watched the movie. I felt a lot of the details from the book were left out, which is understandable considering the movie is just 120 minutes and the book has more than 500 pages. But few details were altered which I felt could've been avoided.

If you're interested in reading books, I would highly recommend reading the book "The Book Thief" which is going to give you a lot more story and the narrator is going to appear a lot more often than in the movie.

This is without a doubt one of the most riveting, thought-provoking, and utterly powerful movies for young people (or any people, for that matter). Unlike most movies for young people, which usually encourage selfishness, lust, and who knows what else, this is a film that promotes such qualities as self-sacrifice, courage in the face of unspeakable difficulties, and using your life to make a difference for others.

Based on Markus Zusak's novel, The Book Thief expertly tells the story of a young German girl named Liesel, who is thrust into the horrors of World War II Germany and its many complications. The scope of the story is seen through the eyes of Liesel, making it quite an intimate tale that is less about war and more about the importance of remaining human in inhuman surroundings, and affecting those around you in a positive and profound way.

The film is hauntingly beautiful, and moves at an effortless pace- not too fast, not too slow- allowing the viewers to become immersed in the realities of Liesel's situation. Lovely Sophie Nelisse is stunningly perfect in the role of Liesel, capturing both the bright-eyed innocence and the eventual world-weary quality needed for the role. Liesel's good-natured friend Rudy is also expertly and realistically portrayed by young Nico Liersch. It is a delight to watch such wonderful young actors at work. Geoffrey Rush and Emily Watson, of course, are their usual extraordinary selves as Liesel's adoptive parents.

This is truly a movie that is not just for young people. It operates on many levels, as a commentary on the disastrous effects of World War II or a poignant tale of one small soul fighting for her own sense of humanity. While it might be a bit intense for small children, a film such as this should be mandatory viewing for older children and teenagers- a thoughtful and heart-tugging reminder of the fragility of life, and the importance of looking beyond yourself. It is the sort of film that will leave viewers young and old just a bit speechless.

If this film is not on most Top 10 Lists then what I think about critics will hold. As the saying goes " I laughed, I cried, i felt good. This film shows hope in the face of the worst that life serves up, and wants you to come back for more. The acting from top to bottom was fantastic. Geoffrey Rush gives a wonderful performance that should get him an Oscar nomination. This is by no means a feel good movie, and I wouldn't bring younger kids to see it, but it will make them think about. Best of all look for the answer to the many questions this film should leave in their minds. Questions of did this happen, and if it did, WHY? I like that as in other films about this time, it focused on the ordinary people of Germany not just the victims of the Holocaust. How their lives were touched by the insanity of the masses and how some never lost sight of what it was to care about others.

Some might rush to conclude: another World War II story with British/Canadian/Australian cast playing German roles. Whilst there is some truth in that statement, one should not rush to dismiss "The book thief" because in the midst of the horror of the war, it puts children at the forefront. Children who are forced to grow up quickly although they cannot totally abandon their nature.

This 1940's German family has no interest in the Nazi propaganda but like the people in the countries attacked they are in a struggle for survival and despite the hardship they will not risk everything to help those in need.

Moving and emotional it does a good job in putting humanity at the core of the story despite the surrounding overall lack of it.

If you read the book then it's not woth watching, also there is cheap propaganda in the movie.

I do not know the book. But the film, for its beautiful simplicity is useful in high measure. A film about war and survive, well acted, touching and delicate, great for small details and for the atmosphere, reminding the art of admirable actors, proposing a magnificent trip inside yourself. Short, just delightful , with bitter taste and wise definition of the life meanings.

Greetings again from the darkness. You may be familiar with the source material - the huge best selling novel from Markus Zusak. If not, you may be surprised at the "through the eyes" of an illiterate, orphaned child's perspective of the German home front during WWII. You may be more surprised to learn that it's narrated by The Grim Reaper (British actor Roger Allam), and includes a Nazi rally, book-burning, bomb shelters, a look at the anti-Jew and anti-Communist movements, the German conscription/military draft and the dangers associated with hiding a Jew in one's basement.

There is no denying the melodramatic nature of the story, but this one avoids schmaltz thanks to the remarkable performances of the great Geoffrey Rush and Emily Watson, and especially Sophie Nelisse as the incredibly perceptive Liesel who provides the innocence and powers of observation that prove to us (and Death) that good people will do extraordinary things no matter the atrocious conditions.

As Liesel's foster parents, Rush plays a warm-hearted WWI veteran and Watson plays a cantankerous, grounded woman hiding the emotion she carries for her husband and new daughter. The biggest piece of hiding involves Max, a young Jewish man who is the son of a soldier who once saved the life of Rush's character. Max and Liesel have a wonderful bond as he teaches her to speak through her eyes and she nurses him back to health by sharing her new found joy of reading.

The ghost of the boy who lived in the shadows ... from H.G. Wells "The Invisible Man" plays a key role as Liesel tries to make sense of a world that delivers a daily dose of relentless danger. As she develops her love and dependence on the written word, it's clear that to survive in these times, one must have something that provides hope. The unusual story structure with the odd narrator, and a mix of wry humor, keep us connected with the characters and allow the humanity to shine through. Still, I challenge you to watch this without a lump in your throat. www.MovieReviewsFromTheDark.wordpress.com

A movie was average. The girl's relations with the father were excellent. Most of the characters in the film were good. Medium story. The lead actress's acting was excellent, but the Russians won over Nazi Germany.

As the daughter of a Holocaust Survivor, I raced to see this movie on Thanksgiving Day.

Our hero, a little girl, has a compelling personal history. Her brother dies on the way of them being placed with foster parents. She also cannot read.

Her foster father becomes her natural ally when he teaches her to read. Then she is befriended by her neighbor, a little boy.

Added to the mix is that her foster parents hide a Jew. The little girl is drawn to him, especially after she learns her own mother, a Communist, most likely became a victim of the Nazis.

The Jewish young man furthers her education with reading and writing lessons. When he falls ill, she reads to him as a lifeline to keep him connected to living.

The historic context of this story is well documented with the Night of the Broken Glass and book burning.

This movie is a must- see for anyone like me who is compelled to learn about the human and historic drama of the Nazi era.

THE BOOK THIEF is a movie full of great incidents and characters, top production values and fine acting -- Geoffrey Rush is one of those actors I believe cannot give a less than brilliant performance and Emma Watson creeps into your heart slowly and steadily throughout. The story is telling and surprisingly hopeful in the end.

Unhappily, this is not a great movie and the problem can be laid squarely at the feet of the scriptwriter. Based, as it is, on a book, the first problem lies in how to translate ideas into images and what to cut without losing the movie's heart. Michael Petroni has succeeded admirably in the former endeavor, but has not been entirely successful in the latter. Roger Allam's narration of the story as Death is well performed, but ultimately pompous and a cheat.

I have not read the book this movie is based on, but it seems likely to me that the narration attempts to replicate the third person omniscient narrator of the book. Sometimes it is the details like this that endear a book to us, but the translation from one medium to another requires great care and narration is rarely a good idea in a movie. The attempt by narration to make the conditions of the movie simultaneously universal and of great individual importance is miscalculated. It may work in the book. It does not work on the screen.

This is a movie I took great pleasure in while in the theater. As I said, the acting and attention to detail are compelling. However, the scriptwriter was apparently too fond of the least cinematic parts of the book and the entire movies suffers thereby. It's still compelling, but far less than it might have been.

From the studio that brought "The Life Of Pi" this is the tale of "The Books Thief" as narrated by Death : Roger Allan . As when Death tells a story, you really have to listen. It is just a small story really about, amongst other things, concerning a teen : Sophie Nelisse, an accordionist : Geoffrey Rush, some fanatic Germans, a Jewish fist fighter and quite a lot of thievery . It begins February 1938 when Liesel : Sophie Nelisse, is traveling by train along with her mother and brother, but an unfortunate incident takes place. Firstly, she takes a book from a graveyard titled "The Grave diggers Handbook", and subsequently, finding solace by books reading. Along the way a voice representating Death tells the happenings. Then, the adolescent named Liesel is adopted by a foster family, formed by stepfather called Hans Hubermann : Geoffrey Rush and stepmother named Rosa Hubermann : Emily Watson, both of whom have a Jewish refugee called Max Vandervurg : Ben Schnetzer, hidden at their basement. She undercoverly meets the Jewish and quickly become good and close friends. The more time she spends with the Jew, the more she learns about the value of friendship and reading. It will be the attractive start of an extreme romance with books. She also befriends his next door neighbor and schoolmate, too. At the beginning she is unable to read but thanks to his friends she rapidly learns and becomes really captivated with reading anything she can, even stealing books and sharing them, too.

Exciting and enjoyable coming-of-age story set in Nazi time with interesting themes, family relation, and full of courage beyond words , being based on historical facts. As at the film happens some historical events , such as : books burning similar to the famous Berlin books bonfire , 1938 Night of Shattered Crystals , bombing over German towns by Allied aviation, Jewish pursuits, among others . Stars a little girl marvelously performed by Sophie Nelisse, playing a peculiar teenager subjected to war horror while learning about the value of life and words thanks to her insatiable books reading . Geoffrey Rush plays perfectly a kind-hearted and friendly person. And Emily Watson plays pretty well as the good and understanding adoptive stepmother.

It contains a sensitive and rousing musical score by the veteran and prolific master John Williams. As well as a colorful and evocative cinematography by Florian Balhaus. The motion picture was compellingly directed by Brian Percival. He is a good craftsman who has usually directed episodes and TV series, such as : Downtown Abbey, Clocking off, Shakespeare told, Dark Angel and a movie titled A boy called Dad. Rating 7/10. Above average. Well worth watching . Essential and indispensable seeing.

When I finished reading Markus Zusak's novel, The Book Thief, for the first time, I couldn't speak for almost twenty minutes afterwards. I remained stunned, consumed by my thoughts, absorbed in Liesel's world and bereft as both the final chapter and an episode of my life ended.

Departing Brian Percival's film adaptation I just felt hollow.

The Book Thief is a remarkable story of Liesel Meminger (Sophie Nélisse), a young girl in pre-war Germany, whose communist mother sends her and her brother to live with foster parents. When her brother dies on the train and is hastily buried beside the railway track, the illiterate Liesel steals her first book as it falls from the gravedigger's coat. In this small act of deviance, Liesel finds her greatest resource for survival as World War II unfolds around her in a strange town. Pivotal in her life are her new parents, Hans (Geoffrey Rush) and Rosa Hubermann (Emily Watson), her newfound friend, Rudy (Nico Liersch), and Max (Ben Schnetzer), the Jew hiding under the stairs. And overseeing it all is Death.

Let's deal with him first of all. Certainly when one reads a fine novel images of characters are conjured that remain unique to the reader's imagination. However, no matter how fine an actor he may be, Death emphatically does not sound like Roger Allam. His narration is casual, almost suave, smug even, when the character of Death is written as an entity that is surprised and awed by Liesel and her effect on her little world and on himself. It is the first aspect of The Book Thief that jars, but it certainly isn't the last.

When Liesel arrives at the Hubermann's home, almost the first words out of Rosa's mouth are disgust-filled accusations that Liesel stinks and is flea-ridden. What a pity Percival and his costume and makeup departments didn't read the script prior to shooting the scene; Liesel is dressed impeccably, with tidy hair, not a speck of dirt upon her and giving every impression of being positively fragrant. With the exception of a solitary scene in the final act when Liesel and the townsfolk scrabble amongst rubble, every character is dressed in what appears to be new clothing. It is the correct period, certainly, but at a time of depression and austerity not a single threadbare coat, nor a loose string of wool, nor a tear, patch, smudge or stain is visible. Really?

As for Max, when he stumbles through the Hubermann's door, we are supposed to believe he is on his last legs. I don't look that healthy on a regular Monday morning! And when the comment is made that he is developing bedsores (because he is permanently prone), in the very next scene we watch him walk downstairs to the basement unaided! Sometimes the little things mean a lot and there are just too many little things in The Book Thief to overlook.

With the first impressions of a film being negative, it is a long hard trudge uphill to win the viewer over again. Alas, The Book Thief is not up to the task. The language issue is clumsily managed with German accents and periodic words and lines delivered in German instead of perhaps starting the film in German with subtitles to set the scene and the seamlessly segueing into English. It worked for Valkyrie…

Mostly the acting is fine. The sets are well constructed, the props and Nazi regalia are accurate, the cinematography is adequate, the script flows reasonably smoothly… But something substantial is missing from The Book Thief. It is empty, incomplete, like a wall built without mortar. The Book Thief is a body without a heart.

Occasionally a film gives a fair reflection of the source novel, The Shawshank Redemption perhaps chief amongst them. The Book Thief is not one of those films. Perhaps if I hadn't seen read the novel, this would be a six star film. However, it warrants no more than three stars for all that it could have been and should have been but absolutely isn't.

For lovers of Zusak's novel, only disappointment can follow. Don't do it. Keep your memories in tact.

And if you haven't read The Book Thief? Go. Do it. NOW!

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