Indy 4

“Indiana Jones and the Kingdom of the Crystal Skull” feels like a fraught attempt by Steven Spielberg and George Lucas to capitalize on a plunging economy by whisking people away to a time when things were just a little less complicated. Sure, the Korean War was still fresh on the mind and Red Scare hysteria dominated public consciousness, but 1957 was indeed a time of opulent idealism for the American family. In a sense, Indiana Jones embodies all the acumen, gusto, and unwavering tenacity that went into making the ‘50s such a catalyst for economic development, so it’s hard not to get caught up in the ecstasy of adventure that seems to skulk around every curve.

Harrison Ford is back to basics in his signature role and proves once again why he is still somewhat underrated as an actor. After nearly twenty years, he gracefully eases back into this character and, in my opinion, delivers his best performance since 1997’s “Air Force One.” Sure, everyone lauds him for his work on “Star Wars” and this series, but the magnitude of these performances is often lost amidst explosions or other whimsical Spielbergian contraptions. That could’ve easily happened here, but the special effects this time around aren’t quite in the same league as years past, so the actors literally have to bring the thunder for two hours straight.

When the rest of the cast includes Cate Blanchett, Shia LaBeouf, and Karen Allen, I don’t exactly see that as being too much to ask. Blanchett just might be the best thing in the entire picture as her splendid portrayal of sensuous KGB agent Irina Spalko falls somewhere between a snappy dominatrix and Diablo Cody. She’s having a blast playing the villain and I could certainly see her channeling this momentum toward a future character who’s on the wrong side of the law. I enjoyed seeing Allen back, but Blanchett was without a doubt the more captivating female presence.

LaBeouf, on the other hand, could’ve carried this film entirely on his own if given the chance. In true Brando-esque rebellion, he comes barreling in on his Harley prepared to scrap with anyone who dares to glance in his direction. Whether it’s the Russians or the Socs, no one is going to mess with him without feeling the fearsome fury of the switchblade.

The way screenwriter David Koepp deals with all of this makes the whole movie feel like a chaotic mélange of “The Outsiders” and “West Side Story” with a shot of “Close Encounters” thrown in for good measure, which ultimately keeps it from becoming as spectacular as it wants to be.

I’m going to follow Spielberg’s lead and abstain from revealing anything that could jeopardize someone’s ability to fully experience the mystical wonder that is the Kingdom of the Crystal Skull. However, I will say that the tone of this film may be an immediate turn-off for diehard Indy-ites, because a younger, more striving Spielberg would’ve gone for broke and let many lines of dialogue remain unsaid. Then again, Spielberg gave birth to the Summer blockbuster back in 1975 and has essentially delivered on every powerhouse picture he’s generated over the last thirty-three years, so while it’s not the best Indy, I sure had a great time.

- *** out of 4