The Adventures of Tintin

Tintin swimming in the waves of the Atlantic in the direction of two gangsters standing on the float of a seaplane. Its Houpe cleaves the waves, like a shark fin. Steven Spielberg has kidnapped the reporter of the Twentieth Petit and put on a diet of Jaws .
The two-dimensional hero of Hergé is seen giving the gift of relief, he only had 62 pages to perform extraordinary feats MAY display on the screen almost two hours. Steven Spielberg has always been of the opinion that more is better. His Tintin is faster, louder, smarter, stronger than that of Hergé and the inflation is supposed to pass the status of hero cartoon character to that of cinema. It failed.

One sees a strange figure, whose complexion resembles that of a bath toy, lost in the uproar infernal car accidents, airplane, motorcycle - without mention of the ingredient required for a Hollywood blockbuster: the destruction of an entire city (but rest assured, Western audiences, it is situated in Morocco).

Tintin has lost the translucent unreality that makes the most mysterious of contemporary heroes (which he loves, except Snowy? He likes, except to walk in the woods of Moulinsart? Where and when is born? We could fill pages of Tintin questions unanswered).

Yet he did not become a being of flesh (as was the case in very outdated Secret of the Golden Fleece and Tintin and the Blue Oranges , made ​​it half a century ago). The technique of performance capture keeps the characters in the Secret of the Unicorn in limbo, ranging from shooting the movie.

The faces of the actors (Jamie Bell as Tintin, Andy Serkis as Captain Haddock ...) on which were placed sensors have disappeared in the work of graphic designers. It almost sounds like real human beings, but in the interval between the photograph of the flesh and its reconstitution by a computer comes a fantastic effect that was more to the world of Beowulf than 1940 years in which Spielberg has kept the adventures of reporter .

However, he did cross the Channel, helped in this by a team of British writers (Stephen Moffat, Edgar Wright and Joe Cornish). If the sets are relatively neutral (as a Generic Europe can the imagine of young American computer scientists), the focus of the actors (whose voice has not been masked) back across the Channel.

So that's one pound bought as Tintin, a flea market, a model of the Unicorn. We know (or not) the complications that ensue: the pickpocket, the three models, the ancient secret passed down through the centuries, the treasure. Everything is there, on screen, with the added bonus, the episode of the crab claw in gold , which the couple founded Tintin, Haddock.

The events of the scenario, the decorative elements, some gags show an admirable knowledge of the albums of Hergé. The pace hysterical, the escalation of destruction (a battle between cranes we believe release of Transformers ), however, is a sign of some distress.

Under this noise, there is nothing: neither nostalgia for a world that is completely foreign to the director (as there is far from the serials that inspired Hollywood Indiana Jones to the whims of the young Belgian Hergé) or want to take a unknown hero in another world.