"The Borrowers" is a visually stunning family film that combines classic British charm with cutting-edge special effects, though it lacks a fully developed script. This adaptation draws inspiration from Mary Norton's beloved children's books, which feature a family of tiny individuals living beneath the floorboards of a British home. With a budget of $30 million, Polygram aims to capture local audiences during the Christmas season, positioning the film as an enjoyable alternative to major international releases. As it prepares for its U.S. premiere on February 13, the film's success will hinge on Polygram's ability to market it effectively and generate interest among American viewers.

Mary Norton's series of novels spanned from the early 1950s to the 1980s. In 1973, NBC produced a 90-minute adaptation as part of its "Hallmark Hall of Fame," featuring notable actors such as Judith Anderson, Eddie Albert, and Tammy Grimes, with a soundtrack by Rod McKuen. Two decades later, the BBC released two six-part series, starring Ian Holm and Penelope Wilton, which later aired on TNT in the U.S.

The idea for a cinematic version first emerged five years ago under Working Title, with British director Peter Hewitt, known for "Bill & Ted's Bogus Journey" and "Tom and Huck," eventually taking the helm, backed by Polygram's substantial funding.

The titular Borrowers include Pod, the father portrayed by Jim Broadbent, his wife Homily, played by Celia Imre, and their children, Arrietty (Flora Newbigin) and Peagreen (Tom Felton). The family is aptly named for their habit of "borrowing" items from the household above them.The film kicks off with a vibrant adventure that immerses viewers into the world of the tiny Borrowers. Their secretive lives are nearly exposed when the human residents of the house unexpectedly return while the Borrowers are hiding out in the kitchen. This opening sequence serves as a mini-adventure itself, showcasing the film's ambitious visual effects and setting a high standard right from the start.

As the plot unfolds, we are introduced to the antagonist, Ocius P. Potter, portrayed by John Goodman. This greedy lawyer and realtor has grand plans, believing that “today, Potter’s apartments; tomorrow, Pottersville.” Upon discovering the owner of the house has passed away and her will is missing, he plots to evict the tenants and demolish their charming home to build luxury apartments.

The Borrowers, reluctant as they are, team up with Pete, the son of the tenants, who has formed a bond with Arrietty. Together, they devise a plan to thwart Potter by locating the will and getting it to city hall before the deadline of 4 p.m. on Saturday, when Potter intends to file for demolition. The majority of the film is an exhilarating chase scene, showcasing the little characters darting through the floorboards, exploring the wider world, and even sneaking into a milk-bottling factory, with the relentless Potter hot on their trail.

Unlike the 1990s television series that focused more on character development and cleverly utilized effects on a tight budget, this film opts for a more extravagant display of visual effects and cartoonish escapades, all complemented by Harry Gregson-Williams' dynamic orchestral score.

While some dialogue gets lost beneath the effects, the overall decision to maintain a brisk pace proves beneficial. Visual effects supervisor Peter Chiang delivers work that feels effortlessly integrated, leaving audiences marveling long after the visual tricks have been executed.

A notable difference from the TV series is the incorporation of American elements. Although the story is set in England, Goodman’s character and the house’s tenants are portrayed as Americans, with local references such as city hall replacing the traditional town hall.

The production design evokes a nostalgic '50s toy-town Britain aesthetic while cleverly integrating items ranging from the 1920s to the 1990s, including a modern cellular phone used by Goodman’s character.P.D. Gemma Jackson, along with lensers John Fenner and Trevor Brooker, deserves accolades for their impressive visual work, particularly in avoiding blues and whites. This choice enhances the film's pastel aesthetic, giving it a distinctly period feel. Costume designer Marie France also excels, dressing the Borrowers in creatively repurposed items, while Joan Hill’s quirky approach to makeup and hair adds to the film's charm.

However, the film falters in terms of storytelling. The characterization feels shallow, leaving little room for the audience to connect with the Borrowers and their struggles against the threatening “beings” of the outside world. The climax, set in a city hall storeroom, attempts to deliver an inspiring showdown but ultimately lacks the emotional depth to make it resonate.

John Goodman portrays a villain reminiscent of Sylvester the Cat, effectively embodying the role. Thirteen-year-old newcomer Newbigin impresses as Arrietty, demonstrating notable confidence. Veteran actors Jim Broadbent and Celia Imrie play the parents, though their performances come across as somewhat subdued. Meanwhile, Pierce shines as the young ally to the Borrowers, and Hugh Laurie delivers some standout lines in his role as the timid cop, particularly in scenes with the boisterous Goodman.

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