Indiana Jones and the Kingdom of the Crystal Skull «««
PG-13, 127m. 2008
Cast & Credits: Harrison Ford (Indiana Jones), Cate Blanchett (Irina Spalko), Karen Allen (Marion Ravenwood), Shia LaBeouf (Mutt Williams), Ray Winstone (‘Mac’ George McHale), John Hurt (Professor ‘Ox’ Oxley), Jim Broadbent (Dean Charles Stanforth). Directed by Steven Spielberg. Screenplay by David Koepp. Story by George Lucas and Jeff Nathanson based on characters created by George Lucas and Philip Kaufman.
Nostalgic. Formulaic. Critic-proof.
Such are the words I use to describe Indiana Jones and the Kingdom of the Crystal Skull; the fourth and obviously the most anticipated sequel to the roller coaster adventure series created by George Lucas, Steven Spielberg, and star Harrison Ford. >
I say “anticipated” because it’s been 19 years since we last saw Ford’s archeologist adventurer ride off into the sunset in the supposed final installment of the series, Indiana Jones and the Last Crusade (1989).
If my three words used to describe the latest installment don’t come off as particularly favorable, it’s because “nostalgia” wise, Indiana Jones and the Kingdom of the Crystal Skull brings back memories of how great the original (and yes, it was really an original) Raiders of the Lost Ark (1981) was.
Although Temple of Doom (1984) and Last Crusade could never quite match up to the original, all three were fun, humorous, often edge-of-your-seat roller coaster rides. Watching all three was like getting on a new roller coaster some amusement park just built for the current summer season.
Instead of being a thrilling non-stop adventure ride though, Crystal Skull feels like we’ve just returned to those old amusement parks 19 years later, but there are no new rides worth jumping on. Everything done here was done better in the previous three. Alas, this roller coaster ride we get on for two hours inside the dark theater reveals nothing new. We just about know what’s going to be around that next corner.
We get, not surprisingly, a truck chase sequence that takes place along the mountainous high cliffs of Peru where Indiana Jones battles Russian agents in a fight to get his hands on a prized skull that supposedly holds great powers. The scene clearly brings back reminders of the more exciting chase sequence in Raiders where Jones battled the Nazis for the Ark. There is even a brief shot of the “Ark of the Covenant” early on in the film’s first few minutes.
By comparison, the climax in Crystal Skulls echoes the horrific and yes, much more impressive visual effects of Raiders as well. Would you be surprised if you saw the Russian soldiers get sucked up into the sky by supernatural forces, or maybe I should say forces from outer space, while their leader dies a similar special effects laden death that befell the series’ other villains (i.e. eyes burning, face and body exploding)?
I kept getting the feeling we should be unexpectedly surprised when it’s revealed that a young leather-clad biker named Mutt Williams (Shia LeBeouf) turns out to be Indiana’s son. Or for that matter, when Indiana’s former flame, Marion Ravenwood (Karen Allen), enters the picture. Instead of being surprised though, all I can do is just smile.
I wonder if screenwriter David Koepp, who also wrote the screenplay for Spielberg’s War of the Worlds (2005), really thought when writing the dialogue and planning out these scenes truly felt that such revelations would leave the audience with inaudible gasps.
Which brings me to the word “formulaic.” To quote the phrase, “If it ain’t broke, why fix it?”
Like the previous installments, Crystal Skull supplies the who’s who in terms of persons, places, and things. The year now is 1957. The persons’ or perhaps I should say the villains this time are Russians led by dark haired vixen, sword wielding agent Irina Spalko (Cate Blanchett) who has the ability to read minds and is after a pair of ancient skulls believed to have special powers.
The film once again sends us on a worldwide trip from the Nevada deserts where nuclear testing is done to the Mayan temples of Peru. The characters run into giant scorpions (the bite isn’t as bad as those from the smaller ones), giant red eating ants that can swarm a victim in seconds and are able to carry them into their underground lair, observant gophers, and oh yes, lot of monkeys.
All this makes the film “critic-proof” in much the same way that the Star Wars prequels were. It don’t matter what negative commentary the entertainment media says. It’s all about clever marketing. Lucas employs the same similar marketing formula when it comes to choosing the perfect theatrical release date as he did with the Star Wars prequels. To put it simply, release the film a weekend before Memorial Day where no other major release can compete with it over the next week, and watch the millions come in. It don't matter what happens after that. The film will have already paid for itself. That’s not to say the filmmakers failed to churn out a good product.
I enjoyed the performances. If there is one character throughout his movie career where I firmly believe Ford feels at home playing and could go on doing the role despite his age now at 65 it’s this one.
To quote his line from Raiders, “it’s not the years, it’s the mileage.”
Ford once again proves he is the unstoppable David who despite overwhelming odds is able to conquer any Goliaths that stand in his way whether it’s Nazis, sacrificial priests or Russians.
Karen Allen’s return as Indy’s brief romantic flame from the original shows she is still as feisty as she is mouthy.
I even liked LeBeouf who acts like he is channeling Marlon Brando’s motorcycle biker from The Wild One (1953) with his character.
It’s Blanchett though who steals the show with her perfect Russian accent who likely wouldn’t hesitate killing someone by simply wrapping her legs around a male and squeezing them until their spine breaks the way she smashes man-eating ants between her legs.
If Blanchett’s Spalko had been a real Russian agent, I have no doubt she probably would have been the inspiration for creating the Natasha character in the Rocky & Bullwinkle & Friends cartoon (1959).
The storyline involving aliens and flying saucers however would no doubt feel right at home in an X-Files movie, but it doesn’t belong in an Indiana Jones picture. Given the controversy at how Lucas, Spielberg, and Ford could not agree on a screenplay the past several years, I can’t help but wonder what other ideas such screenwriters/directors like Frank Darabont (The Mist-2007) had in mind for the character when they submitted their scripts to the three box office Gods only to have them all rejected.
Which brings me back to the word “nostalgic.” Perhaps the only reason why Spielberg, Lucas, and Ford, all of whom are now in the early to mid-60s returned to doing a fourth one after so long was to get one done before they are too old to make another. I have no doubt that for Ford, it was the opportunity to bring in some box office gold given that he hasn’t had a $100 million dollar hit in a long while.
For Lucas, it was the chance to milk the franchise and double his money the way he has done with the Star Wars movies when it comes to merchandising. There are already rumors flying around Hollywood that a fifth one could get made and Spielberg has been quoted saying in interviews he wouldn’t rule out making more installments "only if you [the audience] want more.”
The ending seems to suggest that it will be LeBeouf’s character who could take over the reins from Ford if there is another one.
I can’t picture him as the main character starring in a title called “Mutt Williams and the Kingdom of Giant Ants” however.
That might even sound like a cruel joke to fans who only see Ford as the whip-wielding archeologist and no one else.
I get the feeling Ford’s Indiana Jones feels the same way. Heaven help anyone who dares trying on that brown fedora hat should it come blowing their way.
© 5/26/08
PG-13, 127m. 2008
Cast & Credits: Harrison Ford (Indiana Jones), Cate Blanchett (Irina Spalko), Karen Allen (Marion Ravenwood), Shia LaBeouf (Mutt Williams), Ray Winstone (‘Mac’ George McHale), John Hurt (Professor ‘Ox’ Oxley), Jim Broadbent (Dean Charles Stanforth). Directed by Steven Spielberg. Screenplay by David Koepp. Story by George Lucas and Jeff Nathanson based on characters created by George Lucas and Philip Kaufman.
Such are the words I use to describe Indiana Jones and the Kingdom of the Crystal Skull; the fourth and obviously the most anticipated sequel to the roller coaster adventure series created by George Lucas, Steven Spielberg, and star Harrison Ford. >
I say “anticipated” because it’s been 19 years since we last saw Ford’s archeologist adventurer ride off into the sunset in the supposed final installment of the series, Indiana Jones and the Last Crusade (1989).
If my three words used to describe the latest installment don’t come off as particularly favorable, it’s because “nostalgia” wise, Indiana Jones and the Kingdom of the Crystal Skull brings back memories of how great the original (and yes, it was really an original) Raiders of the Lost Ark (1981) was.
Although Temple of Doom (1984) and Last Crusade could never quite match up to the original, all three were fun, humorous, often edge-of-your-seat roller coaster rides. Watching all three was like getting on a new roller coaster some amusement park just built for the current summer season.
Instead of being a thrilling non-stop adventure ride though, Crystal Skull feels like we’ve just returned to those old amusement parks 19 years later, but there are no new rides worth jumping on. Everything done here was done better in the previous three. Alas, this roller coaster ride we get on for two hours inside the dark theater reveals nothing new. We just about know what’s going to be around that next corner.
We get, not surprisingly, a truck chase sequence that takes place along the mountainous high cliffs of Peru where Indiana Jones battles Russian agents in a fight to get his hands on a prized skull that supposedly holds great powers. The scene clearly brings back reminders of the more exciting chase sequence in Raiders where Jones battled the Nazis for the Ark. There is even a brief shot of the “Ark of the Covenant” early on in the film’s first few minutes.
By comparison, the climax in Crystal Skulls echoes the horrific and yes, much more impressive visual effects of Raiders as well. Would you be surprised if you saw the Russian soldiers get sucked up into the sky by supernatural forces, or maybe I should say forces from outer space, while their leader dies a similar special effects laden death that befell the series’ other villains (i.e. eyes burning, face and body exploding)?
I kept getting the feeling we should be unexpectedly surprised when it’s revealed that a young leather-clad biker named Mutt Williams (Shia LeBeouf) turns out to be Indiana’s son. Or for that matter, when Indiana’s former flame, Marion Ravenwood (Karen Allen), enters the picture. Instead of being surprised though, all I can do is just smile.
I wonder if screenwriter David Koepp, who also wrote the screenplay for Spielberg’s War of the Worlds (2005), really thought when writing the dialogue and planning out these scenes truly felt that such revelations would leave the audience with inaudible gasps.
Which brings me to the word “formulaic.” To quote the phrase, “If it ain’t broke, why fix it?”
Like the previous installments, Crystal Skull supplies the who’s who in terms of persons, places, and things. The year now is 1957. The persons’ or perhaps I should say the villains this time are Russians led by dark haired vixen, sword wielding agent Irina Spalko (Cate Blanchett) who has the ability to read minds and is after a pair of ancient skulls believed to have special powers.
The film once again sends us on a worldwide trip from the Nevada deserts where nuclear testing is done to the Mayan temples of Peru. The characters run into giant scorpions (the bite isn’t as bad as those from the smaller ones), giant red eating ants that can swarm a victim in seconds and are able to carry them into their underground lair, observant gophers, and oh yes, lot of monkeys.
All this makes the film “critic-proof” in much the same way that the Star Wars prequels were. It don’t matter what negative commentary the entertainment media says. It’s all about clever marketing. Lucas employs the same similar marketing formula when it comes to choosing the perfect theatrical release date as he did with the Star Wars prequels. To put it simply, release the film a weekend before Memorial Day where no other major release can compete with it over the next week, and watch the millions come in. It don't matter what happens after that. The film will have already paid for itself. That’s not to say the filmmakers failed to churn out a good product.
I enjoyed the performances. If there is one character throughout his movie career where I firmly believe Ford feels at home playing and could go on doing the role despite his age now at 65 it’s this one.
To quote his line from Raiders, “it’s not the years, it’s the mileage.”
Ford once again proves he is the unstoppable David who despite overwhelming odds is able to conquer any Goliaths that stand in his way whether it’s Nazis, sacrificial priests or Russians.
Karen Allen’s return as Indy’s brief romantic flame from the original shows she is still as feisty as she is mouthy.
I even liked LeBeouf who acts like he is channeling Marlon Brando’s motorcycle biker from The Wild One (1953) with his character.
It’s Blanchett though who steals the show with her perfect Russian accent who likely wouldn’t hesitate killing someone by simply wrapping her legs around a male and squeezing them until their spine breaks the way she smashes man-eating ants between her legs.
If Blanchett’s Spalko had been a real Russian agent, I have no doubt she probably would have been the inspiration for creating the Natasha character in the Rocky & Bullwinkle & Friends cartoon (1959).
The storyline involving aliens and flying saucers however would no doubt feel right at home in an X-Files movie, but it doesn’t belong in an Indiana Jones picture. Given the controversy at how Lucas, Spielberg, and Ford could not agree on a screenplay the past several years, I can’t help but wonder what other ideas such screenwriters/directors like Frank Darabont (The Mist-2007) had in mind for the character when they submitted their scripts to the three box office Gods only to have them all rejected.
Which brings me back to the word “nostalgic.” Perhaps the only reason why Spielberg, Lucas, and Ford, all of whom are now in the early to mid-60s returned to doing a fourth one after so long was to get one done before they are too old to make another. I have no doubt that for Ford, it was the opportunity to bring in some box office gold given that he hasn’t had a $100 million dollar hit in a long while.
For Lucas, it was the chance to milk the franchise and double his money the way he has done with the Star Wars movies when it comes to merchandising. There are already rumors flying around Hollywood that a fifth one could get made and Spielberg has been quoted saying in interviews he wouldn’t rule out making more installments "only if you [the audience] want more.”
The ending seems to suggest that it will be LeBeouf’s character who could take over the reins from Ford if there is another one.
I can’t picture him as the main character starring in a title called “Mutt Williams and the Kingdom of Giant Ants” however.
That might even sound like a cruel joke to fans who only see Ford as the whip-wielding archeologist and no one else.
I get the feeling Ford’s Indiana Jones feels the same way. Heaven help anyone who dares trying on that brown fedora hat should it come blowing their way.
© 5/26/08
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