Indiana Jones and the Kingdom of the Crystal Skull
And so here we are - the greatest action hero in the history of cinema returns after a 19 year absence. Most of the elements that made the first three adventures of Indiana Jones such classics are present and correct, but even disregarding the impossible levels of expectation, the overall experience is not one of complete satisfaction, with an uneasy feeling that there are as many negatives as there are things to enjoy.
At the heart of everything good about the film is Harrison Ford, his age no impediment whatsoever to either the action or in recreating the spirit and soul of Indy. An actor who’s been coasting for over a decade rediscovers the joy of his greatest character and it’s simply wonderful to have him back. Similarly, new recruit LaBeouf acquits himself well while the return of Karen Allen as Marion brings things full circle with Raiders. As for the look of the film, it’s often breathtaking, deep and lush and brimming with atmosphere.
In the debit column are a handful of scenes that simply don’t belong in an Indiana Jones film, overblown, computer augmented action beats or comic moments that stray close to being downright silly. Spielberg, while not exactly going off his nut on CGI like a certain George Lucas did when he revisited another long dormant franchise, still makes more widespread use of it than should be necessary in an Indiana Jones film. Partly it’s to facilitate the fluidity of the action sequences he’s been perfecting over the last few years and in that regard it serves its purpose well, but he’s guilty of taking it well beyond subtle, leading to some occasionally intrusive CGI and moments that are quite frankly ridiculous.
Plot-wise it stays pretty close to the old formula, but with obvious concessions to the fact that the film is now set in 1957 rather than the ‘30s. The baddies are now the Russians rather than the Nazis, and they’re led by a very effective Blanchett as Irina Spalko, who wants to get her hands on the mythical crystal skull that will grant its owner unlimited knowledge. Indy is approached by a young man calling himself Mutt (LaBeouf) who tells him that his mother and Indy’s old mentor have been kidnapped by the Russians and that his help is needed in getting them back, leading to a desperate lull at the start of the second act as the central plot kicks in and explanations of who needs to do what to whom threaten to outstay their welcome. Thankfully things pick up for the final third and the rest of the movie comprises non-stop action as Indy and pals lay waste to the jungles of South America with Spalko in pursuit, even if it does eventually turn into a cross between the X-Files and The Mummy.
But as well as Indy’s reintroduction is handled, as gorgeous as the whole thing looks, and no matter how big the action gets, there’s an overall lack of awe and excitement, possibly because John Williams’ immortal score is badly underused. Ultimately Crystal Skull is a hell of a lot of fun, but while perfection was never going to be attainable, there’s no escaping the nagging feeling that it could have been a whole lot more. [Paul Greenwood]