Thursday, May 22, 2008

Movie review: Indiana Jones and the Kingdom of the Crystal Skull

Starts with a bang - ends with a tribute.

By John P. Meyer

Indiana Jones and the Kingdom of the Crystal Skull

After being forced to leave Marshall College under dubious circumstances, Indy joins forces with rebellious, young Mutt, who believes he knows the whereabouts of one of the most spectacular archeological finds in history--the Crystal Skull of Akator, a legendary object of fascination, superstition and fear. But, as Indy and Mutt set out for the most remote corners of Peru--a land of ancient tombs, forgotten explorers and a rumored city of gold--they quickly realize they are not alone in their search. Soviet agents are also hot on the trail of the Crystal Skull. Chief among them is icy cold, devastatingly beautiful Irina Spalko, whose elite military unit is scouring the globe for the eerie Crystal Skull, which they believe can help the Soviets dominate the world--if they can unlock its secrets. Indy and Mutt must find a way to evade the ruthless Soviets, follow an impenetrable trail of mystery, grapple with enemies and friends of questionable motives, and, above all, stop the powerful Crystal Skull from falling into the deadliest of hands.

Source: Cinema Source

• Showtimes and more on Indiana Jones and the Kingdom of the Crystal Skull

For those who've thrilled to previous installments of the Indiana Jones saga, the anticipation of watching Harrison Ford take up the brown fedora again after two decades is very much like an ambivalent homecoming: will the venerable farmhouse of our youth retain its charm and character, we wonder? Will the roof leak? Is the foundation sagging a bit?

Of course, Ford's not the only grizzled veteran on the premises - there's also director Spielberg to be considered, and of course (co-) scripter/producer Lucas. But it's Ford who'll have to actually take up the whip and sneer at the camera and engage in fisticuffs with the bad guys. Can this over-achieving Hollywood triumvirate bring back the old Saturday matinée shoot-em-up action-adventure magic, accomplished with varying degrees of success on three prior cinematic outings?

Yes, Virginia, they can.

In fact, Indiana Jones and the Kingdom of the Crystal Skull may appeal most to the seasoned crowd who have an emotional investment in the Indiana Jones mythos. Those coming late to the hoedown will undoubtedly still have a good time (it does adhere to the never-a-dull-moment, stunt-heavy, exotic locale, ooh-ah formula, after all), but viewers returning for their fourth (or third, or second) helping of the tomb-raiding Indy chronicles will bask in the added glow of references to - and characters from - the storied past.

Two grizzled veterans on the set

This latest installment brings Dr. Henry Jones Jr. and contingent into the youthful nuclear age (or "nucular," as - I'm sad to report - Indy/Harrison refers to it); thus, the bad guys complicating his professional life and interfering in his archaeological affairs are commies from Russia, as opposed to the German Nazis he (and we, vicariously) whipped in ... the Last Crusade. Serving as arch-villain is Cate Blanchett, doing her best Natasha Fatale (and it's a jolly good one), emanating seductive evil intent while dressed in jodpurs and black leather boots. Crack that whip!

Seems Natasha (er, I mean Irina Spalko) and her commie minions are after a certain artifact housed in a certain warehouse in the midst of a certain highly-secure (though perhaps not quite secure enough) Nevada military base. And she's kidnapped Dr. Jones and his partner in archaeological derring-do, Mac McHale (Ray Winstone), to assist in locating it among the row upon multi-acre row of boxes and crates. Through the usual inducements (including, most notably, threat of death), Indy is convinced to use his unique knowledge of the item in question to home in on its location.

Things happen, and Indy somehow ends up in a quite ordinary house on the edge of the desert populated only by - hm - mannequins. I think you see where this is going, and if not, well... "give me '50's-era Nevada history for a kiloton, Alex."

Cate B. in dominant mode

Meanwhile, Jones' unwilling participation in the warehouse heist lands him in dutch with the FBI (standing in for Homeland Security), placing his teaching position at the university in jeopardy. When he hears that his colleague, professor Oxley (John Hurt), has turned up missing while searching for a semi-mythical artifact in Peru, Indy takes out after him - but only after the bouillabaisse is thickened by the introduction of a young man sporting Marlon Brando Wild One garb and riding a motorcycle, to boot (Shia LaBeouf, as Mutt). This rather abrasive misfit wastes no time making an impression on the cloistered ivy league academics with whom Dr. Jones keeps company.

On to Peru, where another blast from the past confronts our intrepid hero in the person of Marion Ravenwood (Karen Allen, perky-faced as ever - though slightly weathered, as befits her age). Marion actually has some surprising news for Indy, but she reveals it only after he and she are neck-deep in quicksand and in fear for their lives. The manner in which Mutt extracts them from their sinking situation is ingeniously ironic.

Karen Allen as Marion

It's in the Peruvian jungle (with Hawaii locations standing in) that the action peaks, and Mr. Ford gets the opportunity to show us that he's still got the old Indy moves. And have them he does - most of them, anyway - with an episode of two-fisted fisticuffs against a strapping Russian officer coming off surprisingly well. In fact, the only area in which Ford can be seen to falter significantly is in long-winded wordy expositions where he attempts to explain archaeological/mythological intricacies without sufficient pauses for breathing: this stuff just doesn't roll off his tongue like it used to. But that's O.K. - he's still adept at using the bullwhip.

There's an insidery thrill to hearing Indiana comment, during an escape attempt through the jungle which has been poorly planned by young Mutt: "This is intolerable" - directly quoting his curmudgeonly, dearly departed dad (Henry Jones, as portrayed by Sean Connery in ... the Last Crusade). It's these sorts of resonant references that make a film franchise worth returning to, and there are several included in this movie. The battered hat in particular gets extensive metaphorical play, acting both as a bridge to the past and a harbinger of what the future might hold, if box office results and fan appeal warrant.

Shia in Brando garb - minus the visor cap

As for the treasure trove pseudo-historical backstory, think Erich von Däniken meets Close Encounters of the Third Kind, with a dash of John Keel thrown in for flavoring. I won't get into details, but if I say that the crystal skulls which bind the story together turn out to not have been carved by human hands, this may put you on the path to illumination. Or just screw it and go see the film.

As expeditionary events near their conclusion, we're presented with a mythic diorama in which a battered Indiana Jones appears alone in a corner of the frame, silhouetted against a storm of light and debris, staring off with wonderment at the latest - and perhaps last - of the great enigmas he's encountered in a lifetime of adventure. It's a melancholy and moving cinematic moment.

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Comments

Rick Yost Verified

Although I've always liked Harrison Ford, and I'm a fan of the first Indiana Jones flick, this movie was not much of a thrill for me.

It was full of yet more 'Indy' stuff: his hat, his whip, he doesn't like snakes, campy fight scenes, car-chase-acrobatics.

The story was quite predictable. Our hero knows of a legendary item which no one can find- he finds it in a well-lit dark cave full of skeletons, fights for the right to keep it, then in the end loses it re-enforcing once again that it's not the 'find', it's the search.
Too many 'I'm not as young as I used to be jokes.' Duh!

Let's face it, you don't have to do a lot of great acting in an action-packed Indy Jones flick. Yes, it was well done visually, yes, the effects were great, but I just couldn't get excited about the story. For a mindless joy ride, it was great. For me there was too much formula.

As with many series movies, the first was the best.

1 year, 5 months ago ( Link to this comment | Suggest removal )