When Raiders of the Lost Ark was released in 1981, one of director Steven Spielberg’s favorite reviews was a comparison of his film to Herge’s “The Adventures of Tintin” comics. Now, thirty years later, Spielberg has brought his own adaptation of the esteemed Belgian series to the big screen in the form of a 3D computer-animated extravaganza. Ironically, we wish it was more like Indiana Jones.

There is a lot of excitement and adventure, but little else. The use of computer imagery and motion capture allows the action sequences to veer into the wildly outrageous, which doesn’t impress as much as the scenes that remain in reality. Many of the over-the-top moments push the boundaries of believability and even push overly-anticipated dream sequences. It’s just not necessary and actually detracts from the intensity, as the cartoonish characteristics of these episodes negate any sense of real danger for our heroes.

When young journalist Tintin (Jaime Bell) buys a model ship of the Unicorn, a doomed ship that was lost at sea with a fortune in gold in its entrails, he finds himself involved in a dangerous race to find three scrolls that will indicate the way to the hidden loot. But while Tintin gathers clues with his trusty dog ​​Snowy, the scheming Mr. Sakharine (Daniel Craig) tries to stop the resourceful duo and retrieve the gold for his own devious plans. Tintin’s only hope of reaching the treasure first lies in the hazy memories of Captain Haddock (Andy Serkis), a drunken sailor whose forgotten past holds the key to unlocking the secrets of the Unicorn’s enigmatic journey.

Computer animation has reached such an astonishing level of realism that it sometimes seems strange that a movie wasn’t simply shot in live action. The Adventures of Tintin is just one of those movies – the motion capture experts have already had to render all the parts, so why not make a live action movie? The original Tintin illustrations never had this visual quality and here the only exaggeration is in the occasional nose and chin. At least until the stunts start. In the beginning, which includes very little character development, an immediate immersion in suspenseful adventures, and a hint of backstory via newspaper clippings, there is a certain immersion in realism. This is eventually ditched entirely for physics-defying dog stunts and action choreography that highlights creative cinematography over sensibility. Towards the conclusion, ignorance of gravity is overwhelmingly foolish.

The whole movie is fast-paced and continuous. But with fleeting lulls, it’s the adventurous mode that quickly becomes tiresome. Even during a quick lull, when Haddock and Tintin are stranded in the Sahara, the burly captain hallucinates a Pirates of the Caribbean-like action sequence that once again sends the plot into a frenzy. Tintin has become a young Indiana Jones, minus the charm but complete with all the archaeologist’s tools: tanks, motorcycles, planes, bazookas, machine guns, and close combat skills. He is also highly skilled at flying (“I interviewed a pilot once”), through a thunderstorm no less, shooting, investigating, physically outsmarting enemies twice his size, and possessing an education in religious symbols and nautical paraphernalia. Which brings more questions to your story. Who is this guy and why is he so well versed in escaping deadly situations? Haddock has the same luck when it comes to life-and-death cases, at one point riding the nose of a plane like something out of Dr. Strangelove. Unexplained bravery, wit, and knowledge, combined with Tintin’s youth, detract from the fun: Indiana Jones can do it all, but can this self-proclaimed reporter?

– The Massie Twins (http://www.GoneWithTheTwins.com)