Hearing John Williams’ seven-note trumpet theme and seeing Ford back in that creased leather jacket, battered fedora and wielding a bullwhip after so long is exciting to almost anyone, since the character is such a pop culture icon. A strong point is that film acknowledges the passing of the years, with Grail-hunting Nazis giving way to Reds seeking power over minds.
The cast generally appears to be having a blast. Karen Allen's return as Marion helps maker stronger connections to the original, Cate Blanchett relishes the chance to be an excellent Large Ham and Harrison Ford's constant "here we go again" expression is sure to put a smile on the faces of audience.
For those who remember the era, the flick has a wonderfully nostalgic 50's flavour, what with McCarthyism, old-fashioned diners and greaser gangs, nuclear testing and the fascination with science fiction that’s more “fiction” than “science”. It’s also excellent exposure for today’s generation to peek into a time when muscle cars, leather jackets, pleated skirts and knitwear sweaters were all the rage.
Even though most of the stories in the Indy franchise are rather far-fetched, they are still somewhat built upon historical relics or well-known legends. Any reference to ancient civilizations in Kingdom of the Crystal Skull is simply cleverly-conceived conjecture. This makes the movie decidedly, as my Dad so put it so succinctly, “un-Indy” for me.
Famous for overusing computer graphics imagery (CGI) in the much-derided Star Wars prequels, George Lucas does the same here, despite earlier promises that the movie would be an old-fashioned adventure yarn. While it is not as noticeable as in The Phantom Menace, the use of CGI is almost just as excessive - what made the first three movies special were the innovative effects in an age before CGI, and spectacular sequences that still hold up to scrutiny today.
All in all, the film is a fun ride that never lets up and has many enjoyable instances. As a big Indy fan, it pains me to say this: but with just as many a weak moment, it’s not the 65-year old Ford that buckles at the knees, but the story’s core that does so instead.
Keys to the Kingdom
Hearing John Williams’ seven-note trumpet theme and seeing Ford back in that creased leather jacket, battered fedora and wielding a bullwhip after so long is exciting to almost anyone, since the character is such a pop culture icon. A strong point is that film acknowledges the passing of the years, with Grail-hunting Nazis giving way to Reds seeking power over minds.
The cast generally appears to be having a blast. Karen Allen's return as Marion helps maker stronger connections to the original, Cate Blanchett relishes the chance to be an excellent Large Ham and Harrison Ford's constant "here we go again" expression is sure to put a smile on the faces of audience.
For those who remember the era, the flick has a wonderfully nostalgic 50's flavour, what with McCarthyism, old-fashioned diners and greaser gangs, nuclear testing and the fascination with science fiction that’s more “fiction” than “science”. It’s also excellent exposure for today’s generation to peek into a time when muscle cars, leather jackets, pleated skirts and knitwear sweaters were all the rage.
Even though most of the stories in the Indy franchise are rather far-fetched, they are still somewhat built upon historical relics or well-known legends. Any reference to ancient civilizations in Kingdom of the Crystal Skull is simply cleverly-conceived conjecture. This makes the movie decidedly, as my Dad so put it so succinctly, “un-Indy” for me.
Famous for overusing computer graphics imagery (CGI) in the much-derided Star Wars prequels, George Lucas does the same here, despite earlier promises that the movie would be an old-fashioned adventure yarn. While it is not as noticeable as in The Phantom Menace, the use of CGI is almost just as excessive - what made the first three movies special were the innovative effects in an age before CGI, and spectacular sequences that still hold up to scrutiny today.
All in all, the film is a fun ride that never lets up and has many enjoyable instances. As a big Indy fan, it pains me to say this: but with just as many a weak moment, it’s not the 65-year old Ford that buckles at the knees, but the story’s core that does so instead.
RATING: 3/5 STARS
By Jedd Jong