Movie Review The Adventures of Tintin

The Adventures of Tintin (2011) 

Directed by Steven Spielberg 

Written by Steven Moffat, Edgar Wright

Starring Jamie Bell, Andy Serkis, Daniel Craig, Simon Pegg

Release Date December 21st, 2011 

Published December 20th, 2011

The Adventures of Tintin is a remarkable technical achievement. Every moment of The Adventures of Tintin looks like a beautiful comic book come to life. There is no doubting the technical mastery involved in bringing 'Tintin' to the big screen; it does after all have the names Steven Speilberg and Peter Jackson over the title.

So, why am I not completely sold on 'Tintin?'

Who's Tintin?

Tintin (Jamie Bell) is a boyish newspaper reporter with a great nose for a story. Tintin stumbles on what may be the biggest scoop of his career when he buys a model ship at a flea market. The ship is highly coveted and Tintin is warned by one strange man while another man, Ivan Ivanovich (Daniel Craig) offers him a suspicious amount of money for the ship.

Having been intrigued by the warning and the bidding war over the ship, Tintin gets into investigation mode. When he returns home he finds his flat ransacked and the ship missing. After another encounter with Mr. Ivanovich, Tintin stumbles over another important clue; one that Ivanovich will kill to get his hands on.

A Voyage to India

Tintin's clue leads to his kidnapping and a trip to India via ship during which Tintin makes a daring escape with the ship's former Captain, Captain Haddock (Andy Serkis). Haddock's connection to the model ships, there are more than one, is the key to a remarkable adventure that, of course, includes a fabulous treasure.

The Adventures of Tintin is a remarkable technical achievement that delivers fun with terrific visuals and some dazzling adventure scenes. Especially fun is a chase scene set in India involving a crumbling dam, a rocket launcher and an incredibly shrinking motorcycle and sidecar.

Motion Capture Animation

I am very resistant to motion capture animation; I have yet to see it rendered in truly spectacular fashion. Tintin is, in fact, the closest any filmmaker has come to making the form palatable, at least to me. The attempt to make animation look more and more realistic is a fool's errand. Speilberg and Jackson's 'Tintin' teeters on the brink of the 'uncanny valley' , the sweet spot between animated cute and animated creepy.

The adventure of "The Adventure of Tintin" helped me in getting over a little of my resistance to motion capture animation but not completely. 'Tintin' doesn't have that joyous, Pixar quality that inspires me to write love poems about the beauty of modern animation.

Nor does 'Tintin' have the ability to make me care for and worry for the characters; not in the way I might have for a live action character. Take Indiana Jones for instance; you know Indy is in no danger of death but you worry for him nevertheless. There is less worry for Tintin; the animation gives us distance from the characters that live action 'Indy' is able to bridge.

'Worth Seeing if'

That said, I still recommend "The Adventures of Tintin." Kids and parents alike will love the film's bright colors and colorful characters. Tintin as a character is a terrific role model and Captain Haddock's story of redemption from drunk to hero is a terrifically well played arc.

"The Adventures of Tintin" doesn't reach the heights of great animated movies and falls well short of the best live action movies. Instead, "The Adventures of Tintin" rates a 'worth seeing if' rating. It's worth seeing if you have already seen "We Bought a Zoo," "The Muppets," or "Hugo."

Movie Review Rise of the Planet of the Apes

Rise of the Planet of the Apes (2011) 

Directed by Rupert Wyatt

Written by Rick Jaffa, Amanda Silver

Starring James Franco, Freida Pinto, John Lithgow, Tom Felton, Andy Serkis 

Release Date August 5th, 2011

Published August 4th, 2011 

Rise of the Planet of the Apes is the surprise movie of 2011. What you think is going to be a goofy action adventure about apes and James Franco evolves into this shockingly thoughtful examination of what it is to be sentient. The performance of Andy Serkis as the lead ape Caesar easily rivals his extraordinary Gollum in the Lord of the Rings series and deserves honest awards consideration.

Rise of the Planet of the Apes acts as something of a prequel to the 1968 Planet of the Apes; even making reference to the Mars mission of the original film as having been lost in space. James Franco stars as Will Rodman, a scientist working for a drug company and hopeful that he has created a cure for Alzheimer's.

Unfortunately, as Will is seeking final permission to begin human trials following successes with a very special, now super intelligent ape, Will’s ape test subject flips out and has to be put down after a violent rampage. Naturally, everyone believes the rage was a side effect but in fact the ape believed that her newborn was being taken from her.

Though he is supposed to put down all of the apes, Will takes the newborn ape home with him. At home, where Will lives with his Alzheimer's afflicted father (John Lithgow), Will names the ape Caesar and soon discovers that Caesar displays the same extraordinary intelligence his mother had.

Years pass and Caesar grows smarter and stronger. A slight injury to Caesar leads Will to meet Caroline, an ape expert, and soon a small family has begun to form. Also during this time Will has begun work on a new version of his previously successful drug that he begins testing on his own father with stunning success.

The scenes of familial bliss, Caesar’s growing up and Will’s dad’s recovery are observed with great care as if director Rupert Wyatt honestly believed these scenes were as important as the obligatory violent siege that is promised by the film’s title and marketing campaign.

Many directors would not take as much care as Wyatt does to make these scenes resonate. Most directors would signal their impatience about getting to the violence and the exciting rampage; Wyatt takes care to deliver characters who will make the siege late in the film really mean something.

The best work in the film comes from Andy Serkis who brings a stunning level of sentience and poignancy to Caesar. Serkis’s careful movements, his remarkable eyes, give this ape character a reality, a soulfulness that is entirely unexpected. Considering his previous work as Gollum it shouldn’t be surprising but the level of humanity that Serkis brings to Caesar is shocking.

The human characters are good; James Franco brings a very important sincerity to Will. His earnest affection and loving protection of Caesar are necessary elements needed to sell the surprises of the third act. Freida Pinto is a slightly more functional character as is John Lithgow as Will’s dad but each character is decent and caring and most importantly, they have our sympathy.

Through these characters and their affection for Caesar we feel okay caring about him. If Franco were winking about being in a movie with an ape and how inherently goofy that idea is we’d drop out of the movie and be unable to care the way we do. Instead, Franco plays it surprisingly straight, honest and earnest.

The villains are cardboard, stock characters with little to no subtlety. There is the corporate magnate (David Oyelowo) who is willing to risk ending the world in pursuit of a buck and then there is Draco Malfoy aka actor Tom Felton as the caveman ape handler who tortures Caesar into leading an ape revolution.

If Rise of the Planet brought a scintilla of subtlety or complexity to these villains the movie could be a District 9 level quality blockbuster. That film humanized aliens in a most unique and affecting manner just as Rise of the Planet of the Apes humanizes apes in the most unexpected and compelling manner.

I wasn’t sure if I even liked Rise of the Planet of the Apes immediately after I watched it. Sitting with the film for a few days I was struck by what stayed with me about the movie and the reservations that fell away. At first I was wondering if I could really take seriously a movie about Apes and a few days later I couldn't escape the complex and thoughtful performance of Andy Serkis.

Rise of the Planet of the Apes may not be the Summer Popcorn Blockbuster you are expecting but see it and I am sure you will find as I did that this is both a compelling character piece and a thrilling bit of action adventure. Rise of the Planet of the Apes is a Summer blockbuster with a brain.

Movie Review: Flushed Away

Flushed Away (2006) 

Directed by David Bowers, Sam Fell

Written by Dick Clement, Ian Le Frenais, Chris Lloyd, Joe Keenan

Starring Hugh Jackman, Kate Winslet, Bill Nighy, Andy Serkis, Jean Reno 

Release Date November 3rd, 2006

Published November 6th, 2006 

Aardman animation, the home of Wallace & Gromit and Chicken Run, makes its first foray into computer animation with Flushed Away. This comedy about a rat borne London in the sewers beneath the city combines the charmingly flawed look of Aardman's traditional claymation characters with computer animation from the home of the Shrek movies, Dreamworks animation.

It's quite a successful transition for Aardman who move seamlessly into computer animation that remains true to the artistry of the company's past.

Flushed Away stars the voice of Hugh Jackman as Roddy a pet rat indulging in a high class lifestyle while his human owners are out of town. With the humans gone Roddy is up and out of his cage, watching the big TV and even satisfying his sweet tooth. Roddy's high class vacation from the humans is interrupted by the arrival of a disgusting sewer rat named Sid (Shane Richie) who soon ends up sending Roddy on a shocking trip

In trying to get Sid to leave, Roddy tries to convince him the bathroom toilet is a Jacuzzi. Sid, however, knows a toilet when he see's one and sends Roddy careening down the pipes himself. Finding himself in the shocking midst of a bustling rat metropolis that replicates real London using found materials, Roddy seeks help to get himself back to his high class home.

The person who can help Roddy get home is Rita (Kate Winslet) a fearless independent ships captain who knows every inch of the London sewer. Before she can help Roddy, however, Rita must escape rat mobsters and their boss; the toad (Ian McKellen) who want Rita to give them a jewel she recovered that may or may not have falled from the crown of Queen Elizabeth herself.

After some friction, Roddy and Rita form a good partnership; fending off the mob as they navigate Roddy's way home and Roddy discovers that the toad has more sinister plans than merely retrieving the Queen's jewel from Rita.

Flushed Away was directed by first time directors David Bowers and Sam Fell who tell a lively and fun adventure story. The real success of Fllushed Away however, is the animation which seamlessly combines computer animation with Aardman's signature claymation look that despite having been digitized manages to retain that flaws in the clay charm ala Wallace & Gromit: The Curse of the Were-Rabbit.

Much of the enjoyment of Flushed Away comes from the voice cast lead by Hugh Jackman and Kate Winslet. Jackman gives a playful and fun vocal performance that is reminiscent of his self deprocating work as the host of the Tony Awards. Winslet is pitch perfect in giving Rita's voice strength and vulnerability. The supporting cast, which features Bill Nighy, Andy Serkis and Jean Reno really liven things up with Nighy and Serkis delivering terrific comic relief as mob rats.

There is a hint of romance in Flushed Away between Roddy and Rita. However, because directors Bowers and Fell are making a movie for kids they seem unwilling to commit to a romance between the lead characters. Despite great vocal chemistry between Jackman and Winslet, there is a great awkwardness in the writing and directing of this romance plot. The filmmakers seem to want to make it romantic but because this is a kids movie they just couldn't commit to it.

I can't escape the idea that Flushed Away should be funnier than it is. The film is pleasant and safe for the kids but it lacks the kind of big laughs that a movie like Cars or Shrek provide. That doesn't mean it's not humorous, rather that the humor is rather timid and riskless. See again the romance plot to which the filmmakers can't seem to commit. The romance has a lot of potential, comic or otherwise, but becuase the filmmakers can't decide if they want it or not the whole thing just sorta sits there.

As a product for kids you could do far worse than Flushed Away. The film is a technical marvel in its combination of CG technology and Aardman claymation. The story is pleasant and inoffensive which is a double edged sword. It's safe for the kids but far too safe to be really interesting and funny. I recommend Flushed Away for family audiences but for movie fans looking for the next Cars, Incredibles or Shrek, Flushed Away is not for you.

Movie Review 13 Going on 30

13 Going on 30 (2004) 

Directed by Gary Winick 

Written by Josh Goldsmith, Cathy Yuspa 

Starring Jennifer Garner, Mark Ruffalo, Judy Greer, Andy Serkis

Release Date April 23rd, 2004

Published April 19th, 2004

Being a fan of TV's “Alias,” I am well aware of the tremendous talents of Jennifer Garner. Her role in last year’s comic book adventure Daredevil showed she could easily transfer that talent to the big screen. Now, with the big screen comedy 13 Going on 30, Garner has the biggest test of her talents yet. Playing what is essentially a re-imagining of Tom Hanks' role in 1987's Big, Garner shows a comic flair that she has not had the opportunity to show before. It's a risky departure and a surprisingly successful one as well.

In 13 Going on 30, Garner is Jenna Rink, whom we first meet at the age of 13 as an insecure kid who hopes to become part of a popular clique. She has her chance when the popular kids promise to attend her thirteenth birthday party. However, her popularity comes with a price as she alienates her best friend Matt. Worse yet, the popular girls were only joking about being her friend and instead abandon Jenna as she awaits her first kiss with one of the popular boys in a game of “seven minutes in heaven.” This leaves Jenna stranded and crying in her closet wishing that she could be 30 years old like the girls in her favorite magazine.

When next we see Jenna, she is grown up and very confused. Her wish has come true and she is now 30 years old, only she doesn't remember anything between her wish in the closet and waking up in her fabulous New York apartment. Soon she finds out that she has become an editor at her favorite magazine, Poise, and she became and remains friends with the popular clique from her high school. However she is no longer friends with Matt (Mark Ruffalo) who has grown up to become a photographer and is soon to be married. In her confusion, Jenna discovers that hurting Matt was the biggest mistake in her life and that wanting to be popular has cost her real happiness.

Not exactly groundbreaking storytelling. However as it is played with such lively joy by Jennifer Garner, this trite, overly sweet story is surprisingly funny. Garner tosses her dignity to the curb and goes full speed ahead into being a thirteen-year trapped in the body of a thirty-year-old. Not only is she believable, she is very funny. Garner infuses the role with more acting talent than you expect for such light material. She’s also very well matched with Mark Ruffalo whose credibility as dramatic actor gives the film’s melodrama a needed gravity.

Director Gary Winick borrows effectively from Penny Marshall's Big, combining it with the bubbly effusiveness of Legally Blonde for a comic fantasy romance that is sweet without being overly precious. There are big laughs in the film but more importantly there are big smiles, especially the ones you leave the theater wearing.

My only real problem with the film is it's title which evokes those bad eighties body switching movies like 18 Again or Vice Versa. While those films are in this one's spirit, this is a different and far better film. It's not the most original movie and there are few cringe-inducing moments of over the top cuteness, but nothing so bad that they can't be overlooked. 

There is too much about the film that works for me to care about the moments that don't. 13 Going On 30 is a shockingly good movie that I am very pleasantly surprised to recommend.

Movie Review Long Shot

Long Shot (2019) 

Directed Jonathan Levine 

Written by Dan Sterling, Liz Hannah

Starring Charlize Theron, Seth Rogan, O'Shea Jackson, Andy Serkis, June Diane Raphael

Release Date May 3rd, 2019 

Published May 2nd, 2019 

Long Shot stars Seth Rogen as the unattractively named Fred Flarsky. Fred is a journalist who just quit his job working as a liberal activist journalist after his newspaper was bought by a right wing media conglomerate. Looking to drown his sorrows, Fred meets up with his pal, Lance (O’Shea Jackson), a rich investor type, who promises to take him for a fancy night out. This night out, with drugs and booze of all sorts, culminates with a fancy party where Boyz II Men is performing. 

While Fred is excited to see his favorite 90’s R & B group, his night gets even more exciting when he spots Secretary of State Charlotte Field (Charlize Theron), in the crowd. Charlotte and Fred knew each other in middle school when Charlotte babysat for the three years younger Fred. Fred relays a remarkably embarrassing story about humiliating himself with a kiss attempt on Charlotte before she actually has him summoned for a chat. Seems she remembers him and the two strike up their old friendship. 

Against the better judgment of her staff, headed up by Maggie (June Diane Raphael) and Tom (Ravi Patel), Charlotte decides to hire Fred as a speech writer. You see, Charlotte is about to leave the job of Secretary of State behind and make a run for the Presidency and one of her weaknesses, according to polling data, is her sense of humor. She hopes that Fred’s writing can make her funny. She also just simply finds his oafishness charming. 

Charlotte has secured the endorsement of President Chambers (Bob Odenkirk), a Hollywood actor who once played the President on TV who somehow became the real President. Odenkirk is a scene stealer on par with the all time greats and he makes this cameo performance a spiky delight, indicting the audience and American politics for being attracted to flashy politicians. Yes, it’s a transparent dig at our current President, but Odenkirk makes it more singular and very funny. Watch for the scene where he describes why he’s decided to leave office. It’s a classic. 

Charlotte is embarking on a world tour and she is bringing Fred along to write her speeches and while that happens, the two develop a genuine bond. The chemistry between Charlize Theron and Seth Rogen is really strong. She’s an incredible actress who really sells why she is attracted to Fred and Rogen is charming enough in a rather far-fetched role to make us buy into why a woman as ungodly gorgeous and smart and unattainable as Charlotte would go for him. 

That’s really the conceit of Long Shot. Sure, there are more than a few political jokes, the film has a particularly left wing view, but the central gag that the film’s plot turns on is convincing us that a goofball like Fred Flarsky could be someone who a Charlotte Field could fall in love with. This is a romantic comedy so these aren’t spoilers. The journey of Long Shot is in how you get there and not where the movie is going. 

The ending is especially hard to swallow but, once again, the winning combination of Rogen and Theron makes it work. I accepted that what happens is possible because these two terrific superstars convinced me that under these remarkably heightened and outrageous circumstances, this story is plausible. The incredible chemistry and the really big laughs of Long Shot easily defeated my skepticism about the plot and the R-rated convolutions needed to make it work. 

Long Shot was directed by Jonathan Levine whose unique career includes the Amy Schumer Goldie Hawn flop Snatched, the underwhelming zombie romance Warm Bodies, and the brilliant comic drama 50/50. That last one, 50/50 gave Seth Rogen a really terrific comic dramatic performance opposite an equally brilliant Joseph Gordon Levitt. Levine indeed tries hard to bring some genuine dramatic beats to his comedies with rather mixed results. 

The dramatic beats of 50/50 work solely because of the brilliant and sharp cast. The few dramatic beats of Long Shot also work because of a brilliant cast that make you forget that there is genuine drama taking place. Long Shot is a great deal more broad and jockey than 50/50 but each film shows a director who knows how to trust his actors to deliver a mix of the real and the broadly comic. Levine is blessed to have the Oscar winning Theron who has proven she can convince audiences of just about anything. 

Long Shot is mostly delightful, even when it is remarkably raunchy and R-Rated. Be prepared, this movie is not for the easily offended. Long Shot goes for some big bawdy, R-Rated laughs regarding sex and drugs and you definitely need to leave the kids at home for this one. The film’s biggest flaw however, is not raunchy humor, it’s length. At more than 2 hours and 15 minutes, the film struggles at times to maintain pace and drags in a few spots. 

Oh, I was wrapping up there, but I cannot end this review without praising O’Shea Jackson. Ice Cube’s son is a brilliant scene stealer. This man is a star in the making. Lance is a wonderful character who is full of life and unexpected comic invention. Even when he is given a questionable bit of forced back story late in the movie, Jackson makes it work and is very funny while doing it. I adore this performance, one of my favorites of the year thus far. 

Movie Review: The Prestige

The Prestige (2006) 

Directed by Christopher Nolan 

Written by Jonathan and Christopher Nolan 

Starring Hugh Jackman, Christian Bale, Michael Caine, Scarlett Johannson, Rebecca Hall, Andy Serkis 

Release Date October 20th, 2006 

Published October 19th, 2006 

Director Christopher Nolan's short career has been quite exceptional. His debut feature Following showed off a clever, if not accomplished young director. His follow-up Memento however, went beyond clever and into the realm of sheer directorial genius. Nolan came back to earth a little adapting the Icelandic thriller Insomnia for American audiences, showing that he is better off developing his own material.

Any questions about Nolan as a great director however, were answered when he took his first shot at the blockbuster brass ring, directing the franchise kickoff Batman Begins. One of the best films of 2005; Batman Begins raised the profile of Christopher Nolan and raised the stakes on his future success. His latest picture, The Prestige, became an instant buzzmaker with his involvement.

The Prestige, starring Christian Bale and Hugh Jackman as rival magicians, is a worthy effort for a director who is still feeling his oats as a major auteur. Clever and accessible, The Prestige is just smart enough to be a Christopher Nolan movie and just thrilling enough to be considered mainstream popcorn entertainment.

In turn of the century England magic is big business on the isle. Prestidigitation, legerdemain, and simple flim flammery are so popular that stages are eager to snap up the latest trickster. Into this world of con-men and showbiz folk, come two young men eager to learn the trade. Rupert (Hugh Jackman) and Alfred (Christian Bale) broke into the business together as audience plants for a hack magician (Mickey Jay in a minor cameo).

Their job is to wait patiently in the audience until volunteers are needed. They then eagerly head for the stage to take part in a very important trick. They are to tie the magicians assistant, Julia (Piper Perabo) who happens to be Rupert's wife, tightly and watch as she is lowered into a water tank and locked inside. The trick is that the magician will make her disappear.

The trick is pretty basic, the knots aren't very tight, the lock is tricked, Julia's escape is assured, though were something to go wrong the stage manager, Cutter (Michael Caine), is side stage with an axe. One night something goes horribly wrong. Unable to untie an overly elaborate knot, tied by Albert, Julia drowns. This begins a rivalry that is far more than professional jealousy.

Blaming Albert for his wife's death, Rupert saves his revenge for his ex-friend's first solo show as a magician. When Albert goes for his signature trick, catching a bullet from a tricked gun, he unfortunately picks out a disguised Rupert who fires a real bullet that takes two fingers from Albert's hand. The rivalry devolves from there to stealing tricks, trading women, one woman, Rupert's assistant Olivia (Scarlett Johannsen), and trying to one up each other with more and more complicated and dangerous illusions.

The magic of The Prestige however, is in the storytelling. Christopher Nolan, working from a script written by his brother Jonathan, toys with the time and space of his story in unique and often surprising ways. The movie begins with Albert in jail for having committed a murder. Then we are flashed back to Albert and Rupert's beginnings, as described above, and back and forth between the journals of both magicians, each written at the height of their rivalry.

The non-linear storytelling keeps us off balance for much of the picture, as in a good magicians trick; your looking one way as the trick happens the other way before being revealed and fooling you. The magic of The Prestige is not the staged theatrics which Nolan willingly explains and demonstrates, the magic is in the quiet misdirection and sleight of hand in the storytelling and direction.

Not all of The Prestige works. There are moments when you will easily be able to see what is coming next, the little sci fi twist late in the film is telegraphed, but the payoffs even on the most predictable twist are stunning and well crafted. The ending of The Prestige will confound some audiences but for those who have paid attention its a terrific jaw dropper.

Magic is big on the big screen this fall. The Illusionist starring Edward Norton has been one of the hottest indie features of the fall. Now The Prestige with an all star cast and a rising star director arrives with a whole lot of buzz and delivers a thrilling piece of magical storytelling. While the films shifting timeline can be confusing from time to time, it is essential to Nolan's way of telling this story. In demonstrating the magic of film-making, the ability to craft your own time and space, he honors real magic.

Adding to the prestige of this story is one sensational cast. Hugh Jackman, Christian Bale, Scarlett Johannsen and Michael Caine are exceptional, that you know. What you may not know though is just how brilliant David Bowie can be. Showing up almost unrecognizable as the legendary inventor Nikola Tesla, Bowie dazzles us with a deft turn that steals a few very good scenes.

Christopher Nolan is unlikely to win awards with movies like Batman Begins and The Prestige but that is certainly not his fault. Both films are sensational works that deserve award consideration. But, Nolan is fighting an academy mindset that is against anything that appeals too young or too mainstream. You can forget the academy ever giving a fair shake to something like Batman Begins, simply out of bias toward it's source material.

But most shockingly, even a period piece like The Prestige, no matter how ingenious and well crafted, will never earn awards attention. It's a thriller, with youth appeal, and a young, unproven cast. The academy may not love The Prestige, but you just might. This is simply a terrific film, who can't enjoy that.