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 other words The Holiday probably falls under the “guilty pleasure” category. Its not a classic romantic comedy by any standards but darn it it still makes you smile more often than you want to admit. The story centers on two women: Iris (Kate Winslet) a British newspaper columnist hopelessly in love with a man about to marry someone else and Amanda (Cameron Diaz) a highly successful L.A. career woman who just broke up with her latest cheating boyfriend. Being at the right place at the right time these two gals meet online at a home exchange website and impulsively switch homes for the holiday. Shortly after arriving at their destinations both women find the last thing either wants or expects: A new romance. Amanda is charmed by Iris' handsome brother Graham (Jude Law) and Iris with inspiration provided by legendary screenwriter Arthur (Eli Wallach) mends her heart when she meets film composer Miles (Jack Black). Oh just go ahead and take a big gooey bite. It’s good for the soul. The biggest problem in The Holiday is unfortunately the casting—which is real shame because you really want the chemistry to zing. They get it right with Winslet and Law who are both trying something a little different as romantic leads. Winslet in fact admitted to Reuters this was one of the more nerve-wracking parts she’s ever played because she couldn’t hide behind an American accent or a costume playing someone closer to well herself. But you would think these two Oscar-nominees had been making these type movies all along especially the insanely gorgeous Law who should have every woman swooning with his sensitivity. Where they get it wrong is with the Americans as the Brits just act giant circles around them. Black is clearly out of place. Although being very charming and funny looking like he made Winslet laugh a LOT (and who wouldn’t with that guy around?) their connection on screen is somewhat amiss. Diaz comes off looking even worse. Even though she’s the veteran of the romantic comedy (There's Something About Mary My Best Friend's Wedding) her screechy neurotic klutzy Amanda is in no way appealing. You have to scratch your head wondering why Law’s Graham would fall so hard for her. What does make The Holiday work however is writer/director Nancy Meyers. She’s proven herself quite adept at the genre with films such as What Women Want and Something's Gotta Give under her belt. With The Holiday Meyers skillfully crafts individual moments of refreshing comedy as well as heartening scenes of blossoming romance. The initial seduction scene between Amanda and Graham is particularly sweet and quirky with the crisp dialogue flying at a nice clip. And isn’t it comforting to see a holiday movie minus feuding neighbors commerciality or any sort of mean-spiritedness? But Meyers has the tendency to go more for the superficial rather than dig deep with her characters. The Holiday has a one of those glossy rosy glows whose only aim is to make you feel good. True the film will mostly speak volumes to the women in the audience (that’s a polite way of saying its a “chick flick”) but oh well. It’s fluff may be a nice reprieve during the hustle and bustle of the season.
The catastrophic battles of the Clone Wars are in their final stages as the crumbling Republic--supported by the ever-vigilant Jedi Knights--fight against the Separatist Alliance lead by a particularly nasty half-droid half-alien named General Grievous. Jedi überheroes Obi-Wan Kenobi (Ewan McGregor) and Anakin Skywalker (Hayden Christensen) are sent to kill General Grievous and end the war but it isn't easy. Meanwhile Yoda Mace Windu (Samuel L. Jackson) and the other Jedi Council members fear for the state of the Republic under the guidance of the nebulously sinister Chancellor Palpatine (Ian McDiarmid). I know what you're thinking "Yeah yeah just tell us how Anakin goes bad." Poor Annie. He still has some serious anger issues which now revolve around his adoring young wife Padme (Natalie Portman) and their unborn child (or children in this case). He thinks he foresees Padme's death and will do anything to keep her safe including listening to Palpatine malevolently whisper promises of immortality and the power of the Dark Side into his ear. Not the best thing for this volatile fellow. Yes Darth Vader will soon emerge and the inevitable duel between the good and the Dark Side is at hand. Get your lightsabers ready.
Happily all the main actors--save for perhaps Natalie Portman as the ineffectual Padme--get a lot more to chew on in this final installment. Christensen is thankfully done being the whining teenager from Attack of the Clones and turns into a brooding conflicted pre-Vader who can't control his anger. Of course he overdoes it a bit with the scowling and evil cold stares but that's OK. It's what the part requires. The love story between Christensen and Portman however is still kind of painful to watch. The two actors look more than a little embarrassed professing their love for one another ("I'm so much in love with you" "No I'm so much in love with YOU!"). And besides bringing back the infamous Leia "cinnamon bun" look Portman isn't given a darn thing to do but fret and pace and rub her pregnant belly praying Anakin will be all right. You'd think after wielding a gun in The Phantom Menace she'd get to do more fighting. Oh well. On the flip side McGregor Jackson and even McDiarmid all get to kick some serious butt in Revenge of the Sith each with their own action-packed fight sequences. Jackson just seems happy to be swinging a lightsaber around. McGregor with the full beard and biting commentary does a nice job setting the stage for the elderly Ben Kenobi to come. And McDiarmid a veteran British stage thesp finally gets his chance to shine as the malicious Palpatine as we see his own transformation into the ultimate evil being he becomes.
Oh George what are you going to do now that it's all over? Of course Lucas has said he is going to redo all the six Star Wars episodes in 3-D as well as produce a TV series which follows the events after Return of the Jedi. Then there's the fourth Indiana Jones movie to look forward to. But Lucas will probably hole back up at his Skywalker Ranch in northern California and dream up even better ways to generate special effects for the big screen. That's what he does best. He truly is an amazing genius at creating visuals and Revenge of the Sith is no exception. From the battle between General Grievous and Obi-Wan to Yoda's clash with Darth Sidious to Obi-Wan's climactic duel with Anakin Sith is simply riveting. The only difficulty Lucas has ever had is with the human element. I'll admit I'm one of those die-hard fans of the original trilogy who had a problem with the lack of an emotional core in the prequels. After writing and directing the first Star Wars (or Episode IV for those counting) Lucas understood then that maybe he wasn't the best choice to write the next two handing the chores off to screenwriter Lawrence Kasdan. It worked. Big time. Yet with all three prequels (that's Episodes I-III) Lucas did it all himself and his obvious shortcomings are evident. But hey does it really matter how connected you feel to the characters when you've got the Force Jedi Knights evil Darths an ass-kicking little green guy clone armies droid armies Wookiee armies (yeah that's a lot of fur) and an ultimate turn towards the Dark Side? No. But it helps.