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Thursday, May 22, 2008
Indiana Jones’ ‘Kingdom’ rules - mostly
Indiana Jones and the Kingdom of the Crystal Skull delighted me even before I saw one frame of actual footage. Not many movies can inspire a grin merely by showing the Paramount logo.
I’m not going to tell you what that logo does, and I won’t reveal too many details of what comes after it. However, I will say that by the time the first action scene finished, I felt foolish for ever wondering if a fourth Indiana Jones film was really necessary. It was if it turned out to be this exciting.
That said, it’s not an unqualified success. Crystal Skull makes too many mistakes to be more than the third best Indiana Jones movie. It couldn’t hope to equal Raiders of the Lost Ark, and it doesn’t have quite the heart that made Last Crusade so memorable, but it’s much more fun than the morbid Temple of Doom.
Almost immediately, the new movie sets itself apart from its predecessors. While much of it feels very familiar, especially during the ever-breathless action scenes, it’s not quite like the Indiana Jones movies of the 80s. Those films drew inspiration from the action adventure serials of the 1930s, when all the other movies took place. Since this film takes place in 1957, it feels like the more whimsical sci-fi/adventure stories that were popular at the time.
After the terrific opening scenes, a greaser named Mutt Williams (Shia LaBeouf) literally rides into Indy’s life, Marlon Brando-style, imploring him to find the ancient crystal skull that can be used as a mind control agent by the Soviets. Mutt arrives just when Indy and his cohorts are feeling the weight of years gone by. Indy’s college dean (Jim Broadbent) laments the passing of loved ones and the old days when he says, “We’ve reached the age when life stops giving us things and starts taking them away.” A little more adventure would be in order.
The first half of this adventure is the best, as Steven Spielberg directs the action with impeccable flair. Befitting the era, the movie features everything from an atomic explosion to Howdy Doody to communist witch-hunting to bikers to mad Soviets to E.T.’s, if you will. Spielberg’s glee at working with the trappings of the era in which he grew up is palpable, infusing the movie with great energy.
Unfortunately, the second half of the movie dilutes that energy. Though Spielberg stages a bravura chase through double pathways in the rain forest, complete with the requisite “ewww” scene with multiple critters, the screenplay by David Koepp loses focus, tossing off too many twists and reversals. Worse yet, the filmmakers botch the climax.
Many purists will complain that the ending is too heavy on CGI, and that science fiction has no place in an Indiana Jones story. I disagree on both counts. All the Indiana Jones films used the top effects of their day, and the sci-fi fits in with the UFO craze of the 1950s. The problem with the climax was that I didn’t feel enough of a sense of peril. It gave me plenty to see, but not enough to feel, and what should have been the most exciting part of the movie was the least exciting.
I was also disappointed in the much-heralded return of Marion, Indy’s love from Raiders. While it’s great to see Karen Allen again, she isn’t given enough to do. More than anything else, she’s just an observer along for the ride, and Marion is worth much more than that.
The rest of the cast helps redeem the flaws. Fears that LaBeouf would be this movie’s Jar-Jar Binks were totally unfounded. He shows great charisma as an adventurer who doesn’t know his own strength. Cate Blanchett, as the chief Soviet baddie, eats the scenery for breakfast, lunch and dinner, but watching her do it is delectable. John Hurt may have the weirdest role in all of the Indiana Jones movies, but he plays a hypnotized expert on crystal skulls with zeal that’s hard to resist.
Chief among the movie’s strong points is none other than Indiana Jones himself. Harrison Ford’s exhilarating performance renders all of those jokes about Indy being an old codger null and void forever. Ford, 65, shows his age only in the lines on his face. If anything, he plays Indy with even greater gusto than he did in Last Crusade. The actor hasn’t been this much fun to watch in years.
Even when the movie stumbles, Ford rights it with his rock-steady hand. Thanks mainly to him, I came out of Indiana Jones and the Kingdom of the Crystal Skull smiling, feeling several years younger and many pounds lighter.
GRADE: B+
(Note: For once, the MPAA has surprised me with a rating that’s too harsh. This may be the mildest PG-13 movie I’ve ever seen; aside from a scary scene or two, most young children will take it in stride, I think.)
Barring any breaking news, this review will remain the top post throughout the holiday weekend. Comment away and tell me what you anticipate, or what you think when you see the movie.
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