On The Adventures of Tintin
The Adventures of Tintin:
A Movie Review
by John David Ebert
When Michelangelo returned to the Sistine Chapel twenty years after finishing his Genesis masterpiece on the ceiling — a masterpiece which astonished everyone and caused Raphael to go back to his School of Athens to paint Michelangelo in as the morose Thinker in the foreground — he painted The Last Judgement on the wall behind the altar, and the resulting work ignited a storm of criticism about the painting’s Mannerist merits. It was generally conceded to be a recognizable masterpiece, but it was not received with anything like the warmth and enthusiasm of the ceiling fresco from twenty years earlier. Personally, I find it stiff, badly organized and full of awkwardly drawn figures and rather unimaginative depictions of the resurrection of the dead at the end of Time. But then, by 1534, Michelangelo was getting on in his years. Read the rest of this entry »
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