The Adventures of Tintin is the film that Steven Spielberg has always aspired to make. Combining 3-D and motion capture technology, the director actions action scenes which defy physical and leap from the screen in the realm of absurdity. The film cannot capture the audience’s imagination because it goes well beyond that; Tintin is action for the sake of action, innovative because it showcases scenes few had conceived before.
Though many current films may follow the same mantra of “watch now, think later”, they cannot replicate Spielberg’s panache. For better or worse, the film entertains consistently throughout its concise 144 minute duration, much like its comic book predecessor.
The plot is comprised of a series of MacGuffins, each a thin pretense to justify another computer-generated scene. Whether it’s Tintin using motorcycle handlebars to zipline through a North African town or Captain Haddock fencing with the bland villain with giant cranes, there’s no real reason for anything to occur. George Lucas would love the film because Tintin removes almost every human aspect of filmmaking, from actors to writers to camera operators. However, Spielberg incorporates slightly more charm and operates with a tad more subtlety than his Indiana Jones collaborator and that makes a world of difference.
The film strikes many of the same notes as the fedora sporting explorer’s series, most of which ring true. Like The Kingdom of the Crystal Skull, there is a massive flood for no apparent reason except the audience actually care about Tintin and his friends and hope that they escape. The spirit of early twentieth century adventure and improvisation grounds the film slightly, remaining true to Tintin’s comic book roots.
Snowy continues a banner year for terriers at the movie theatres. If only he could have been the protagonist as he acts with more common sense than anyone else. Nevertheless, The Adventures of Tintin (and Snowy) succeed because they present pure Hollywood escapism, dialed up a few notches. Some action, some humour, little that insults the intelligence of viewers: more or less the reasons people watch films. ***