Over 80 years after the Belgian artist Herge first conceived him Tintin the plucky journalist-adventurer whose stories have sold over 350 million books worldwide has finally got his own big-budget Hollywood movie. The Adventures of Tintin is already a runaway hit in Europe where it opened in late October (some eight weeks ahead of its U.S. release) and where the character enjoys the bulk of his popularity. But while most Americans have never heard of Tintin they’re undoubtedly familiar with the name of Steven Spielberg who after directing 24 live-action features makes his 3D-animation debut with the rollicking action-adventure.
The film is set in the early-middle 20th century in an unnamed European town. Though his spiked widow’s peak and baby-faced visage peg him at no older than 16 the titular Tintin (Jamie Bell) is already a respected newspaper reporter and something of a neighborhood celebrity. (He also lives alone and owns a handgun -- quite an accomplished young lad indeed.) The chance purchase of a model boat leads him to a mystery involving a treasure-laden ship that was lost at sea over three centuries prior. Together with his trusty dog Snowy and a drunken sea captain named Haddock (Andy Serkis) he embarks on a globe-trotting adventure that pits him against a nefarious figure named Sakharine (Daniel Craig).
Like the Indiana Jones blockbusters it’s so clearly crafted to evoke The Adventures of Tintin is cutting-edge filmmaking with an old-fashioned ethos. Spielberg’s gift for spectacle hasn’t diminished one iota with his transition to animation. The inexorable march of technology and the constant bar-raising of the 3D-animated genre has schooled us to expect dazzling color and detail and Tintin dutifully delivers on that front but what impressed me most about the film is the cinematography which is nothing short of astounding. Liberated from the physical constraints of the live-action realm Spielberg and his longtime director of photography Janusz Kaminski deliver shot after shot of breathtaking scope and complexity.
Such freedom of imagination has its drawbacks of course. I grew tired of the filmmakers’ fondness for reflected images. They’re found everywhere in the film -- on mirrors windows eyeglasses bottles and anything else translucent or shiny. Moreover story is reduced to a secondary role in service of the film’s elaborate set pieces. And Tintin himself for all his exploits is an unremarkable protagonist his only distinguishing features a determined optimism and a MacGuyer-like ingenuity.
The Adventures of Tintin was made using a “performance-capture” approach of the type pioneered by Robert Zemeckis which might bring alarm to those who recall the infamously dead-eyed characters of Polar Express with disdain. The technology has come quite a long way since those rueful early days. The characters in Spielberg’s film possess a vitality and expressiveness that signal the much-maligned “uncanny valley” could soon be a thing of the past.
In his new film Due Date director Todd Phillips (Old School The Hangover) stages a rather audacious cinematic experiment placing two enormously talented actors Robert Downey Jr. and Zach Galifianakis on a mostly deserted island handing them an assortment of blunt and broken tools and charging them with constructing a free-standing fully-functioning Hollywood comedy.
To his credit Phillips was at least considerate enough to supply his comic Crusoes with a detailed blueprint. An odd-couple/road trip movie hybrid Due Date unapologetically mimics Planes Trains and Automobiles one of the John Hughes' rare “grown-up” comedies in which Steve Martin starred as a straightlaced family man forced to travel cross-country with a gratingly affable slob played by John Candy in order to make it home for Thanksgiving. (Surely there have been other such films before and since but Hughes’ work is the one Due Date most vividly recalls.)
The film’s script co-written by Phillips and Adam Sztykiel adds a handful of 21st-century twists to the formula: A baggage snafu while boarding an airplane leads Peter Highman (Downey) a type-A architect with a history of anger-management issues into a confrontation with a Federal Air Marshal that subsequently lands him on Homeland Security’s no-fly list. Stranded without reliable transport lacking the means by which to procure any (he left his wallet on the plane) and desperate to be reunited in L.A. with his pregnant wife (Michelle Monaghan) in time for her scheduled c-section he reluctantly agrees to hitch a ride with the same tubby schmuck Ethan (Galifianakis) who moments earlier was the catalyst of his security debacle.
The unlikely travel companions embark on a calamitous road trip from Atlanta to L.A. during which Ethan proves to be something of a disaster magnet with Peter bearing the brunt of the damage that occurs. Their navigator Phillips lazily guides them through an uneven obstacle course of comic scenarios some of which are embarrassingly predictable (Ethan stores his beloved father’s ashes in a coffee can and they’re later accidentally used to make coffee!) all of which are designed to showcase Downey’s caustic wit and Galifianakis’ sublime daffiness.
Few actors today deliver choice insults better than Downey and even fewer absorb them better than Galifianakis. They make for a truly marvelous collision of opposites and their interplay is what elevates Due Date above its often puzzlingly flat material. (That along with Galifianakis’ gift for physical comedy; no actor outside of the Jackass crew can better sell a collision with a car door.) The film's supporting cast meanwhile criminally underachieves. Conspicuous cameos from the likes of Danny McBride Juliette Lewis and Jamie Foxx are either unfunny unnecessary or both. On this road trip they’re little more than baggage. Thankfully Downey and Galifianakis are more than capable of shouldering the burden.
Well the verdict is in: Jackass: Number Two is not soft-core. In fact the stunts are more vomit inducing than ever before which in the immortal word of Steve-O is rad! All of your favorite Jackasses are back for more um fun. That’s right--Johnny Knoxville Steve-O Bam Margera Chris Pontius Preston Lacy Ryan Dunn Jason 'Wee Man' Acuna and others have returned to again defy death and sober logic as they take on more elaborate stunts. The stunts this time around involve guns rockets ramps terrorism and animals but not to be forgotten are the fail-proof anatomical gags some of which involve said animals and all of which are too vulgar to reference in any way shape or form here. In summation: more of the same tom-Jackass-ery we’ve come to expect out of these borderline-sane skate-punk dudes. A lot’s changed since Jackass’ early days as an MTV show--most of these “actors”/circus freaks have since gone on to stardom--but all the Jackasses still share an undying love for hurting themselves. Aww. With Jackass the secret weapon has always been the disparate personalities: No two of these guys react the same to their own demise and frankly it’s hilarious. Truth is the commentary’s half the fun! Knoxville brims with charisma and pulls off the rare feat of endearing himself to the Jackass faithful even after having become a movie superstar. His drunken (sounding) laugh is infectious and yes the guy with the most to lose takes the biggest beatings and risks in this movie--how can you not love that?! Then there’s Steve-O whose trademark drawl could be mistaken for a stoned Fran Drescher; he’s the resident self-mutilation whiz. And Margera renowned for terrorizing his folks actually displays a soft side in Number Two (to say more would give away the twist). Cameos from directors Spike Jonze and John Waters Miami Dolphin Jason Taylor Dukes of Hazzard director Jay Chandrasekhar and more only add to the fun. Indeed everyone wants to be a Jackass! While hard to pinpoint clearly there is talent necessary somewhere to make Number Two succeed like it does. That talent likely comes from the behind-the-scenes troublemakers like writers Sean Cliver and Preston Lacy and director Jeff Tremaine the latter two of whom appear in Number Two. Neither the reactions of the Jackasses nor their spontaneity during the stunts are choreographed but it does take a lot of advance preparation--i.e. contingency plans a portable hospital and it would seem booze by the boatload to get the mania into full swing--for a single scene to work. Furthermore to think up such absurdly elaborate ideas is either very painstaking and difficult or very easy--as in watching-episodes-of-Tom-and-Jerry-and-Roadrunner easy. Paramount though to pulling off each and every sequence is getting it all in one take for obvious reasons and Tremaine and co. manage to pull that off like they do everything else.