LA Weekly - Film+TV - Indiana Ford ... and the Kingdom of Luc...
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Saved by 9 people (0 private), first by anonymouse user on 2008-06-03
- Michaeto on 2008-06-03 - Tags no_tag
- Maritomer on 2008-06-03 - Tags no_tag
- Wendelll on 2008-06-03 - Tags no_tag
- Rosekrans13 on 2008-06-03 - Tags no_tag
- Neelagrawal on 2008-06-03 - Tags no_tag
Public Sticky notes
It’s been 19 years since the daredevil archaeologist Indiana Jones let the Holy Grail slip through his fingers at the close of 1989’s Indiana Jones and the Last Crusade.
Highlighted by markcmarino
Meanwhile, preteen children were only slightly less traumatized by the movie’s chest-ripping gore (perpetrated by an army of ooga-booga savages straight out of Skull Island central casting) than Asian-Americans were by Jones’ unfortunately named pidgin-Chinese sidekick, Short Round. (The filmmakers avoided any such accusations in the two subsequent Jones features by simply making all of the main characters white.)
Highlighted by soliswhe
As one who considers Spielberg among the most immensely gifted moviemakers of his generation, I’ve never been convinced that the Indiana Jones movies find him working at (or anywhere near) his personal best.
Highlighted by wendelll
s one who considers Spielberg among the most immensely gifted moviemakers of his generation, I’ve never been convinced that the Indiana Jones movies find him working at (or anywhere near) his personal best.
Highlighted by wendelll
But by the time she finally shows up, halfway into the running time, it’s just another in a long string of anticlimaxes that begins with some sub–X Files monkeyshines at Area 51 and culminates, somewhere deep in the Amazon jungle, in a less-than-captivating encounter of the third kind. In between, there is much to appease the series faithful: cobwebbed caves, double agents, secret passages, unfriendly creepy crawlies (including some admittedly nifty man-eating fire ants),
Highlighted by soliswhe
all the while composer John Williams’ fanfare once again works overtime to convince you of how much fun you’re having.
Highlighted by soliswhe
Can this really be the script that Lucas fussed and fretted over for the better part of two decades, allegedly rejecting draft upon draft by the likes of Frank Darabont, M. Night Shyamalan and Tom Stoppard?
Highlighted by ecoinvestigator
cranium — an extraterrestrial antiquity that may be the key to the gilded city of El Dorado. (Which, for what it’s worth, makes this the first Indiana Jones movie in which the supernatural powers at hand merely come from above rather than from Above.)
Highlighted by soliswhe
At 65, Ford is six years older than Sean Connery was when he played Jones Sr. in Last Crusade, and the willingness with which he hurls his body into the movie’s punishing stunt routines is undeniably impressive, and certainly an encouragement to the Social Security set.
Highlighted by oboeman
At 65, Ford is six years older than Sean Connery was when he played Jones Sr. in Last Crusade, and the willingness with which he hurls his body into the movie’s punishing stunt routines is undeniably impressive, and certainly an encouragement to the Social Security set.
Highlighted by oboeman
But for all the winks and nods to the character’s (and the actor’s) age that have been worked into the script, the movie seems intent on making Jones seem more (not less) invincible than ever, including one outlandish (even by these standards) scene in which Indy survives a nuclear detonation in the Nevada desert by packing himself inside a lead-lined refrigerator. After that, no wonder going toe-to-toe with resident aliens and alien residents seems like child’s play.
Highlighted by maritomer
At the end of the day, Indiana Jones and the Kingdom of the Crystal Skull is nothing if not consistent —taking care of business solidly, professionally and without a lick of the genuine wonderment or inspiration that you can find in surplus in Jon Favreau’s Spielberg-influenced Iron Man.
Highlighted by michaeto
At the end of the day, Indiana Jones and the Kingdom of the Crystal Skull is nothing if not consistent —taking care of business solidly, professionally and without a lick of the genuine wonderment or inspiration that you can find in surplus in Jon Favreau’s Spielberg-influenced Iron Man.
Highlighted by neelagrawal
from the strenuous self-importance of the Bruckheimer-era blockbuster, and one should never look even such modest gift
Highlighted by michaeto
Hence, the outcome of this particular tale is inevitable: Lost city of gold or no, Ford, Lucas and Spielberg will once again ride off into the sunset, laughing all the way to the bank.
Highlighted by soliswhe
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