19.04.2016

Tintin and the secret of the unicorn movie online free

Let it be said that I never expected to see that dame of dames, the Milanese Nightingale Bianca Castafiore bleating her shrill soprano Jewel Song on a mammoth IMAX screen. It all opens with a charming animated title sequence that lovingly reproduces some of Tintin’s greatest moments in print.
It’s bright and joyous and everything you could want from a wide-eyed adventure film.
Tintin and Snowy share the kind of dynamic Charlie Brown has longed to cultivate with his own dog. Restricted to live action, Spielberg simply couldn’t have imbued the film with the cartoon logic and suspension of disbelief required for many sequences and jokes to work as they do.
Tob Jones offers another standout performance as a meek and troubled pick-pocket called Silk.
I don’t have too much much experience with the Tintin comic, but I loved loved LOVED the cartoon series that they used to show here on Nick.
I had plans to see this tonight with the one friend of mine who has ever heard of Tintin, but the the theater we wanted to go to was ONLY showing it in 3D, which I hate. I really, really, really want to see this movie, but with a newborn in the household, going to the movies is not really on the plate. Myown experience of Tintin goes back to around the age of 6 or 7 as it was the only real graphic type book you could get from the library (along with Asterix), so I entered the movie with some trepidation particularly as I’d have to agree this style of moviemaking has never worked. Of all the things to inspire true fanboy awe, this is surely one of the strangest and most unexpected spectacles to unhinge a human jaw. We follow silhouettes of the young adventurer and his faithful dog Snowy through chases and even a brawl or two.
Technically he’s addressing his dog, but even that explanation wares a little thin after a while. It’s that whole uncanny valley thing that makes Asian pleasure robots so horrendously chilling. Abrams’ Super 8, The Secret of the Unicorn is a sprawling and wondrous film, rife with madcap action and downright silly pratfalls. One of my favourite movies this year; although, the three times in 2D were far superior to the one in 3D.


But if it’s anything like my IMAX screening, you can ditch the glasses if you find yourself uncomfortable with it. The typography used in this segment will be instantly recognizable to anyone who’s ever browsed Tintin book covers. And like Snoopy, this tenacious terrier is secretly the most courageous and intelligent member of his ensemble, typically a step or two ahead of even his capable pet journalist. Still, the film rarely permits boredom to rear its ugly head, as those 107 minutes are jam-packed with one insane action set piece after another. You may have to make some allowances for Haddock’s tendency to solve plot problems with liquor induced delusions and moments of clarity, but the screenwriters do well to establish that the character has a very special relationship with alcohol. But if you can stick with the 3D, you’ll be treated to some truly astonishing visuals from the word go. Tintin does a lot of deduction in the first act, and it’s a relief when he finally adds some human companions to his party. Dog lovers will be taken with Snowy unflinching loyalty and affection for Tintin as he races snoutlong into danger and solves the occasional riddle. We also might not accept his level of guile and comprehension unless his fellow cast is just as heightened to cartoon exaggeration. The first act consists mainly of shadowy intrigue, but eventually Tintin hits the high seas.
I’m not a proponent for 3D in most cases either, but I do tend to enjoy it in animated films.
That sorted, we join him at an open air market, posing for a caricaturist who looks an awful lot like a particular Belgian cartoonist. The monologuing is a minor concern though, so don’t misconstrue the note as diatribe against Tintin and Snowy as a duo on their own. There’s a moment when Haddock and Snowy are lowering themselves into the water in a lifeboat to escape a hostile ship. And though I was initially disappointed when Love Actually’s Thomas Sangster had to drop out of his role as Tintin, Jamie Bell does Herge proud. Dig around enough and you may even find photographic record of my attempts to mimic Tintin’s signature swoop, if not that same ginger hue.


Soon, he finds himself haggling over a seemingly ordinary though highly sought-after model ship. By that tack, shouldn’t this project, bustling as it is with rotoscoped human characters, be closer to the less favorable Polar Express end of the spectrum? Alternatively, full-on animation probably wouldn’t inspire the same kind of gravity provided by such lifelike movement, dramatic lighting, and photo-real textures.
The franchise has made the leap to live action and animation before, but there’s still something joyously absurd about seeing these characters on the big screen with these kinds of names and technologies attached. It’s this little antique that leads our hero into a perilous chase and the audience into a wildly entertaining ride. As it turns out, Spielberg, Jackson and their talented team make a good case for the technique. We believe that Tintin can do what he does with a single bullet, and though he may not be as charismatic as Harrison Ford, he’s a charming and dauntless hero.
I say all this only to reflect on the pleasures of adaptation and sharing a favorite thing with a wider audience. It’s one of the many reasons this filmmaking style really gels with the demands of the source material. While Tintin’s father Herge reputedly staked Spielberg as the only filmmaker who ought to bring his creation to the screen, the end result seems nothing less than unnecessary. It’s not that the source demands a bigger format, because those books work perfectly fine as they are and I still cherish those big floppy paperbacks.
But they also strike a tone quite appropriate to the source material made possible only through this animation hybrid.



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