Reviews provided by RottenTomatoes
Motion capture, which transforms actors into cartoon characters in a vividly animated landscape, is the technique Spielberg has been waiting for - the Christmas gift ... that he's dreamed of since his movie childhood.
Herge's was an art of subtraction - of doing more with less - but that seems to have eluded Spielberg and Jackson.
The film also earns points for being the least creepy motion-capture movie I've ever seen...
New York Times:
Like the screen Tintin, the movie proves less than inviting because it's been so wildly overworked: there is hardly a moment of downtime, a chance to catch your breath...
[Spielberg's] camera has always been effortlessly mobile, but here it swoops and soars with an unfettered freedom...
New York Magazine/Vulture:
There are so many variables moving so fast that it's a wonder Spielberg didn't have someone onboard from Princeton's department of Higher Math to help keep track. But his crack team here is enough.
Wall Street Journal:
The action grows wearisome as it grinds on, and the film becomes a succession of dazzling set pieces devoid of simple feelings.
You get the feeling Steven Spielberg had a whole lot of fun making "The Adventures of Tintin."
While it's essentially just another slick Spielberg action machine, it's operating effectively on all cylinders throughout.
In some ways it recalls Spielberg's Indiana Jones adventures, though more manic, if you can imagine such a thing.
It has a light touch, a brisk pace and considerable charm, perfect family fare for casual viewers.
It adequately re-creates the comics' Dickensian characterization, and every frame brims with clever details. But once the action begins, Spielberg's incessant, force-fed "fun" quickly gets exhausting.
I fear Spielberg and Jackson hitched their wagon to the wrong technological star here.
It's delirious stuff, often laugh-out-loud funny.
Christian Science Monitor:
The main achievement of Tintin is that at least the cartoon people and pets come across as characters and not hollow, humanoid entities.
Dallas Morning News:
The Adventures of Tintin can be a delight to look at, even if motion capture isn't your particular cup of animation tea.
A clamorous headache of a movie, it's hard to say who the intended audience for The Adventures of Tintin might be.
I've barely even glanced at a Tintin comic, and what I saw looked more like The Adventures of Rubber Boy and Captain Boring.
Serving up a good ol' fashioned adventure flick that harkens back to the filmmaker's action-packed, tongue-in-cheek swashbucklers of the 1980s, Steven Spielberg's The Adventures of Tintin: The Secret of the Unicorn is a visually dazzling adaptation.
Los Angeles Times:
Think of "The Adventures of Tintin" as a song of innocence and experience, able to combine a sweet sense of childlike wonder and pureness of heart with the most worldly and sophisticated of modern technology.
The relentless pace is a big part of the fun. Who ever heard of a slow rollercoaster, anyway?
A frenetic bonbon with an empty center, and a movie made without any perceivable audience outside of filmmakers besotted by their own innovative processes.
Tintin is exhausting, and, for all its wonders, it wears one out well before it's over.
If I wanted to spend two hours watching a plucky kid and his feisty dog run around having adventures, I'd dig out my old "Jonny Quest" cartoons.
The joy [Spielberg] brings to the film's action is contagious.
New York Daily News:
The film is spectacularly constructed, from intimate closeups to dizzying chase scenes. But as is often the case with this format, the motion-capture animation feels weirdly lifeless.
New York Post:
One of the year's most pleasurable, family-friendly experiences, a grand thrill ride of a treasure hunt.
It should win over the uninitiated, and work quite well for those who have already pitched their tents in the Tintin camp.
Had The Adventures of Tintin been a live motion picture rather than a motion capture-driven animated endeavor, it would have been compared to Raiders of the Lost Ark and Pirates of the Caribbean.
"The Adventures of Tintin" is an ambitious and lively caper, miles smarter than your average 3-D family film.
The Adventures of Tintin comes at you in a whoosh, like a volcano full of creative ideas in full eruption... It hits home for the kid in all of us who wants to bust out and run free.
Although I personally still find the rubber-faced, pseudo-human figures produced by this technique unsettling, the work done by Spielberg and Jackson's animation teams here is exquisite.
San Francisco Chronicle:
Such are the timeless joys of the books (and now the movie), this sparkling absurdity and knack for buckling swash under the worst of circumstances.
Even if this hyperactive movie isn't your cup of tea, there's much to admire on-screen, including Spielberg's astonishing attention to visual detail and John Williams' jaunty score.
Minneapolis Star Tribune:
Spielberg's first venture into animation is his most delightful dose of pure entertainment since "Raiders of the Lost Ark."
Globe and Mail:
Herge was the pioneer of an even-handed style of cartooning with solid lines and no shading that became known as ligne claire, but there is a decided lack of clear lines in this erratic movie adaptation of his work.
If you were expecting a bracing, thrilling Raiders of the Lost Ark, what we get here is more like a muddled, busy Indiana Jones and the Kingdom of the Crystal Skull.
A film which, in both its rip-roaring, globe-trotting narrative and its visceral dedication to pure white-knuckle thrills, is the true successor to his original 'Indy' trilogy.
Tintin is the kind of strap-in-and-hang-on adventure that will endure.
Instead of being transported by the splashy mayhem, the audience winds up feeling exhausted by the one-dimensional story and disengaged from the thinly drawn characters.
Spielberg has fashioned a whiz-bang thrill ride that's largely faithful to the wholesome spirit of his source but still appealing to younger, Tintin-challenged auds.
The movement here is near-constant, and Spielberg's orchestration of action is undiminished.
There's a lot going on in "The Adventures of Tintin," but precious little is really at stake.