TOH’s London correspondent, Matt Mueller, writes, “Steven Spielberg and Peter Jackson’s inaugural instalment in their planned Tintin trilogy delivers the frolicking, boy’s-own-adventure goods in delightful, delirious spades. From frequently breathtaking animated imagery to superb vocal outings by its British cast and a tight screenplay (by Steven Moffat, Edgar Wright and Joe Cornish) that retains the globetrotting charm of Belgian originator Herge’s comic-book series, the movie keeps a could-be-confusing plot humming along nicely while adding in dollops of wry, affectionate humour. Tintin is a fine example of what can be achieved when some of cinema’s brightest minds come together to honour great source material…”
THR’s Jordan Mintzer adds, “…a dazzling flashback scene where past and present are intermingled with plenty of wit and digital splendor (most notably in an image of The Unicorn emerging from the sea and crashing, dreamlike, onto a row of sand dunes), showcase Spielberg’s talent for creating action that is less about bullets and bombs than in keeping things visually alive, introducing dozens of ideas in only a few shots. This is what makes Tintin an altogether more successful mocap experience than earlier efforts like The Polar Express, and the director (who operated the camera and is credited as “lighting consultant”) approaches the medium in a realistic way that’s also far from the epic worlds of Avatar, setting things in a past of lifelike artifacts and locations…”
Premiere’s François Grelet gushes, “Rushing in gap open by James Cameron, Robert Zemeckis the brothers Wachowski, indeed David Fincher, Spielberg seizes itself of his potential movie camera to rethink bottom in height the bases of the storytelling to the old one. The most beautiful moments of his Tintin are situated by there, in this manner to dare impossible transitions to print to the narrative a noisy dynamism, to reinvent the rhythmic binary one alternated mounting for him to infuse more nuances (attention the eyes on the sequence of flash back), to think every scene under the only angle of the piece bravery and to put to poorly the received idea according to which a film has itself Of housewife his spectator with moments of flottement, more commonly called ‘breathings…’”
Empire’s Ian Nathan concludes, “The pace throughout is rat-a-tat-tat quick, the plot tripping along, and the exposition breathless. You have a job keeping up, but never at the expense of the sheer goodwill. While luxuriating in its pre-existing universe, here is a film imploring you to join in. It would take a hard heart to resist.”
This merely confirms the positive takeaway I got from my Weta visit last summer and from what I’ve glimpsed so far since then. It’s looking more and more like Tintin will be a definite Oscar contender for best animated feature.