Movie Mania

Dan Brown’s phenomenal bestseller, The DaVinci Code was made into an equally successful film adaptation. Angels and Demons, while actually a prequel to that book, has been adapted into a movie sequel, and the results are certainly more promising. Director Ron Howard and actor Tom Hanks reteam for a better telling of intrigue, murder, and suspense amid a historic and religious setting. Essentially an almost real-time thriller which jumps from ancient landmark to landmark, this film actually works pretty well within its own confines and is thus a satisfying entertainment without getting sidetracked on the holy mission of revelatory discovery and truth that its predecessor got tangled in.

A scientific breakthrough in a Swiss laboratory generates powerful, anti-matter particles. When a mysterious group steals this deadly material, they threaten Vatican City with annihilation. The plot thickens when four Cardinals, in consideration to succeed the recently deceased Pope, are kidnapped and threatened with hourly execution at a holy site. Despite his purely scientific, empirical measure of the world, symbologist Robert Langdon (Tom Hanks with a normal hairdo this time) is whisked from Harvard campus to Vatican City where he is joined by Dr. Vittoria Vetra (Ayelet Zurer) whose lab created the stolen particles. Together, they attempt to locate the Cardinals and the anti-matter particles. We meet the Vatican Police guard and their protocols and protectiveness over not only the church and its members, but its archives which are at the heart of Langdon’s quest for clues. The Pope’s assistant, Camerlengo Patrick McKenna (Ewan McGregor), the Vatican Guard Commander Richter (Stellan Skarsgard), and elder Cardinal Strauss (Armin Mueller-Stahl) participate in the investigation. History (according to Dan Brown) has it that in 1668, four scientists or free-thinkers known as the Illuminati were kidnapped, branded and executed by the church. Now a darker version of the Illuminati is ready to exact an ‘eye-for-an-eye’ revenge on the church, and they intend to finish the job with one big bang of anti-matter. The clues lead to the four elements of fire, water, air and earth, and perhaps more. What do these have to with actual church locations? Complicating the proceedings is a mysterious assassin who carries out the lethal agenda with unerring accuracy even as Langdon, Dr. Vetra, and the police attempt to prevent further bloodshed. Should Vatican City be evacuated as thousands of people hold a vigil for the new Pope? Can everyone be trusted even in the most sensitive and elite of holy circles? These questions are raised as Langdon desperately searches for answers to save the Vatican.

Having not read the original novel, I feel the film does work on its own which is more than can be said of its predecessor which got lost in self importance and confusing exposition. Screenwriters David Koepp (Jurassic Park, Spiderman) and Akiva Goldsman (A Beautiful Mind) have tried to streamline and condense Brown’s immense, detailed novel into a serviceable story, which focuses on a race against time and is a pretty decent mystery without having the ‘holier than thou’ agenda. References are made to Langdon’s previous adventure with The DaVinci Code, but the film wisely stays on course almost in actual-time so that the suspense level is ratcheted up progressively until the potentially explosive climax.

There are some shortcomings to the film. There is alot of material covered here so it seems a bit episodic, and plot details that beg for a more patient explanation are raced over. The characters are not sufficiently fleshed out to give more meaning to what happens later. All we get are some brief notes of each person’s background to go forward; that is a missed opportunity. Perhaps Dan Brown’s book did not give much in the way of detailed history for his players, but that does not excuse the filmmakers from trying to make a stronger, more emotional connection. Further, elements of the plot strain credibility, and you need to make a leap of faith so to speak to accept some pretty amazing coincidences and key events. In particular, the climax is full of major surprises and a stunning turn of events that require a suspension of disbelief.

Production values are impressive particularly in the art direction and visual effects to recreate Vatican City (since permission for location shooting was denied). The camera work shows great fluidity, and seldom have visuals been more kinetic as in this film or for that matter any other recent adventure/mystery. This helps in the pacing and overall flow of the story.

It’s nice for a change to see male and female leads working together without resorting to the obligatory romance. Here, it’s strictly business. In fact the film plays almost like a chapter of TV’s 24 or The X Files which may determine whether the plot twists and turns are surprising or satisfyingly fresh to the uninitiated viewer. If you have seen The Godfather III, the storyline conspiracies may also seem a bit familiar. Still, you get the feeling that Howard and Hanks have gotten the hang of things this time around. What you get is a moderately interesting mystery in an elaborate, big budget setting. The visuals are impressive but the story itself is nothing special to write home about.

*** of **** stars
(**1/2 stars if you’re a 24 fan)

Continuing the trend of reinventing sixties iconic figures such as Batman and James Bond, Star Trek was inevitably next in line. For those who fretted that the new incarnation of creator Gene Roddenberry’s beloved franchise of ‘Wagon Train to the Stars’ would be dishonored or ignored, they needn’t worry. This new version, intended to reboot the franchise that was so popular in TV reruns and subsequently in a series of big budget films, is a remarkably balanced take on the origins of the classic Enterprise crew. It is designed to appeal to the non-initiated audience while referencing the existing canon of Star Trek lore. Director J. J. Abrams (Fringe, Alias, Mission Impossible III) brings a fresh vision abetted by Trekkie fan/writers, Roberto Orci and Alex Kurtzman.

James T. Kirk is born as his father rescues a starship crew during a Romulan attack led by the mysterious Nero (Eric Bana). A young rebel who grows into a brash, thrill seeking adventurer, young Kirk (Chris Pine) is recruited into Star Fleet Academy by Captain Christopher Pike (Bruce Greenwood). Meanwhile the half Vulcan / half human Mr. Spock (Zachary Quinto) has matured amid bullying kids and decides his destiny lies with The Federation as a cadet instead of his home planet Vulcan. Kirk strikes up a friendship with an ornery young Doctor Leonard McCoy (Karl Urban is a hoot) whose distrust of space and things not medical will become legendary. It is McCoy who devises a way for Kirk to become a crew member of the newly commissioned starship Enterprise. In fact, most of what will become the core crew is assembled including communications officer Uhura (Zoe Saldana), helmsmen Sulu (John Cho) and Chekov (Anton Yelchin), and later, engineer Scotty (Simon Pegg). Seeking vengeance against the Federation, Nero has traveled through time to exact pain and destruction with a planet killing device that will draw the Enterprise to Vulcan and ultimately Earth. With the Universe in the balance, Kirk and Spock must decide if they can work together (with the help of a certain mentor).

The parallel life paths of Kirk and Spock are marked contrasts of two men who will clash and reconcile their future relationship. Kirk smacks of hawkish, shoot-from-the-hip reactionary while Spock is the logical, think-inside-the-box good soldier. Nero reminds us a bit of Khan from Wrath of Khan. The character of Uhura is a major upgrade. She is a multi-talented officer who has romantic longings for a certain Vulcan. Greenwood shines as the veteran Pike. Leonard Nimoy makes a welcome, pivotal appearance as an elder Spock who figures prominently in the history that is to come. The cast makes the most of iconic roles and excels at recreating the personas of what we remember; each crew member gets an opportunity to shine. It is nice to see this group working and improvising together for the first time to solve a crisis. Further, this story takes it for granted as does its audience that this crew is not only multicultural, but multi-species, a far cry from the novelty of the integrated crew of classic Trek.

The screenplay has some well written dialogue and clever Trek references sprinkled throughout, and age old lines of the classic show are introduced for the first time. When McCoy utters, “I’m a doctor, not a physicist”, it’s a riot. Part of the fun is watching two heavyweights like Kirk and Spock faceoff and slowly bond and seeing how Kirk ascends to the captain’s chair. We finally get to learn what the ‘Kobayashi Maru’ wargame really is and how Kirk manages to defeat the test.

Sure, the plot has some gaping holes if you think about continuity and the fate of a certain venerable, classic character. Nero’s motives are explained in time, but they don’t make total sense. This film also does not have the gravitas of deep themes as previous films which is perhaps its only true failing, but instead, we get a strong character study that more than compensates.

Technical effects are quite impressive although Abrams seems to favor close-ups and tight camera setups that put the viewer in the middle of action scenes. Fortunately, there are no jarring Cloverfield handheld camera moves. There is a good fight sequence on a weapons platform and a surprise on an ice planet. You want phasers shooting back and forth in space battle? You’ve got them here. In fact the energy level keeps this voyage bouncing along.

The Enterprise is stunning-it has never looked quite this way ever, and it is cool how they depict the starship going into warp drive. There are imaginative points of view when showing off the ship’s exterior, and the interior is brimming with activity and sound, which is in stark contrast to the more antiseptic views from the earlier show. The costumes (complete with female miniskirts) harken back to that period and yet seem fresh. At credits’ end, there is a nice dedication to the Roddenberrys, Gene and Majel Barrett (who voices the Federation computer one last time).

Fans of the old show may tear up at how faithful and creative Abrams and his screenwriters are with Trek lore and how they set everything up nicely going forward. This is their alternate universe now, and we are game for the experience. This crew, baptized under fire, is ready for new missions, and they cannot come soon enough. Way to go, Mr. Abrams. This Trek rocks!

***1/2 of **** stars

OK, a last minute Oscar prediction for 2008 films…..
Because it is a level playing field in terms of quality, there could be a surprise in several categories except Best Supporting Actor. I have only seen some of the acting nominees but, as always, have seen all the Best Picture ones. Enjoy the telecast-the producers(Bill Condon did Dreamgirls) should have some cool faces and events that changes the traditional presentations. Here we go. –Clint
BEST PICTURE-All the films here are good but not one grabbed me deeply. However, Slumdog Millionaire is a gritty Cinderella story with universal appeal and should complete its magical journey.
BEST DIRECTOR-Danny Boyle makes good films (Trainspotting, 28 Days Later) and this is his coming out ceremony with Slumdog.
BEST ACTRESS-very close race between my favorite, Meryl Streep in Doubt and Kate Winslet in The Reader. Historically when an actress is overdue, she wins. When an actress has another strong film that year (revolutionary Road), she wins. Winslet wins.
BEST ACTOR-Sean Penn in Milk was transforming despite Mickey Rourke in the comeback film The Wrestler. Very very close…..I go with my heart-Sean Penn.
BEST SUPPORTING ACTRESS-very tough here too but it is likely between Penelope Cruz in Vicky Cristina Barcelona and a short, memorable moment by Viola Davis in Doubt. If Streep loses, look for Davis to be the representative winner on Doubt. Cruz is heavily favored but I still remember Davis-so Davis.
BEST SUPPORTING ACTOR-Heath Ledger was so good in a memorable way in The Dark Knight (which should have been a best picture nominee-it was nominated in every major guild –Producers, Director etc)
BEST ORIGINAL SCREENPLAY-Milk was a very complete film and could have won Best Picture in another year. Here is its validation.
BEST ADAPTED SCREENPLAY-Slumdog Millionaire, although this is where an upset could occur with strong competition from every film.
The rest…..
Benjamin Button should take SPECIAL EFFECTS (from Iron Man), possibly ART DIRECTION, and of course most definitely MAKEUP.
The Dark Knight in addition should take SOUND MIXING and SOUND EDITING,
Slumdog could scoop more awards like MUSICAL SCORE (think The Last Emperor), CINEMATOGRAPHY, and even COSTUME DESIGN. Probably EDITING although Benjamin Button is strong here.
Wall-E deserves BEST ANIMATION and could have been a Best Picture nominee. It could steak best song from Slumdog.
Waltz with Bashir should pickup FOREIGN FILM and Man on Wire for DOCUMENTARY FEATURE.
The tally-Slumdog-7 Oscars, Benjamin Button and Dark Knight could end up with 3 Oscars each. I give up on the short film categories.

When Batman Begins (2005) reenergized the franchise with its dark, brooding vision and Zen beginnings, it looked like the followup could be primed for even better results. The higher expectations have not only been met, but are exceeded in The Dark Knight. Featuring a diabolical performance by the late Heath Ledger, this is a terrific film that takes the franchise to darker places, and it is a milestone in comic adaptations and certain to alter the course of such films in the future.

An elaborate bank heist is engineered by the ruthless Joker who is stealing from and toying with the mobsters of Gotham City. Batman (Christian Bale), the caped crusader, watches over the city aiding police Lt. James Gordon (Gary Oldman). Although Batman is an outcast in society, his true identity is billionaire Bruce Wayne, Gotham’s revered benefactor. A new ‘face’ in the form of District Attorney Harvey Dent (Aaron Eckhart), has arrived to clean up crime. Dent is a supremely confident, dynamic ‘white knight’ who means business, and he is dating Wayne’s former love, Rachel Dawes (Maggie Gyllenhaal). As Wayne Enterprise’s Lucius Fox (Morgan Freeman) upgrades his armor and weaponry, Batman must confront the Joker, who consolidates his power and rule over Gotham’s mobs and begins to target city officials including Dent for assassination. When Dent sets himself as bait for The Joker, Batman must chase down and save the district attorney and Rachel from certain death. Meanwhile, a new villain emerges from an unlikely source. Racing against time, Batman is forced into a life and death choice, and he must decide if he should make a sacrifice that will forever change the course of Gotham’s heroic avenger.

Directed by Christopher Nolan (Batman Begins, Momento) in arguably his most accomplished work, this mature, psychological movie takes its themes seriously and weaves subplots upon subplots. For instance, how does a group of people respond when its morality and survival instincts are tested to the limit? You may be surprised and thrilled by the answers. The plot twists are so numerous, you wonder, ‘am I really watching an action picture?’ By the end, the franchise is launched into a new, uncertain direction. Bravo to the filmmakers for not playing it safe.

Whenever Ledger is onscreen, he is simply terrific. There is not one false note or boring moment as he lights up the screen. With his body language, every inflection and facial expression all working in concert to create a horrifying persona, he is so convincing, you cannot imagine that it is Heath Ledger. He is complemented, as are the other leads, with a well written script full of memorable lines. This Joker is a far cry from previous incarnations (Cesar Romero, Jack Nicholson) of the clown prince of crime. When Wayne tries to fathom The Joker’s motivations, Alfred counsels him and states, “Some men want to watch the world burn.” This Joker is grounded in real evil and is thus all the more menacing. We get bits and pieces of Joker’s sordid, traumatic past, which are totally credible in explaining his origins. Essentially an urban terrorist, he threatens the innocent and causes them to live in fear, and he kills with no remorse. There is no logic to his acts, and yet he is a brilliant, clever strategist. Batman follows his own set of rules, but must he sink to Joker’s level in order to combat him?

If The Joker is like the devil, then Batman is almost a Christ-like figure, one with self doubt and who is willing to protect the innocent even if it means taking on or absorbing the sins and pain of the world around him. Christian Bale continues to impress by portraying dual characters (Bruce Wayne/Batman) effectively and playing off the likes of Freeman and Caine, who make the most of their supporting roles. Eckhart is convincing as Dent, a role much more developed and utilized than in Batman Forever. Gyllenhaal (replacing Katie Holmes) does quite well as Wayne’s former flame. Oldman is very good as Gordon which is quite the change of pace from having previously played evil villains (JFK). In fact, Oldman, Freeman, and Caine form the moral compass of the film.

With a talented cast bringing well rounded characters to the screen, Nolan keeps things grounded and never loses track of his story. A Gotham car chase and Hong Kong escape are breathtaking sequences yet wholly believable. You don’t think of anything as computer generated or overdone, which is remarkable in this age of special effects. Are you listening Michael Bay (Armageddon, Con Air)? There are several well composed shots that are iconic and haunting. The hardware is eye-catchy including the Batmobile and a scooter like none you’ve ever seen. Pacing is methodical but it seems a bit choppy and jumpy by cramming in so much narrative material into a 2.5 hour running time. The camerawork is at times quite fluid and dazzling by enhancing the mood or (in The Joker’s case) madness.

There are a couple of moments that are a bit misleading or confusing such as an assassination attempt that may have claimed a key character’s life. And the villain’s fate is sort of, how shall I put this, left hanging? But these are tiny quibbles in a film vastly richer than any comic book adaptation (Spiderman 2 and Iron Man are in this elite company) to date. Rated PG-13, this is essentially an R rated film in spirit and not for younger children. It is creepy and sustains an overall dark, violent mood throughout. Go see The Dark Knight for a multi-layered story that challenges and surprises. Go see the wonderful acting and writing led by maestro Nolan. But most of all go see a burst of genius that was Ledger’s brilliant, last hurrah.

**** of **** stars

Pixar has produced some of the best animation in the past decade with its computer-generated features (Toy Story, Monsters Inc., and Finding Nemo) that have been marked by strong storylines and vivid characters. The tradition continues in an impressive way with Wall-E. This deceptively simple tale is transformed by the emotional content told almost entirely through visuals.

A polluted Earth has become uninhabitable for 700 years, and one of its only residents is Wall-E, a small robot whose solitary mission is to be a mobile, trash compactor. In his work, he also finds and collects trivial, odd artifacts of mankind’s past such as a Rubik’s cube. He comforts himself with an old video, Hello Dolly, and as he learns about humans and his yearning for love, it becomes his idyllic vision of happiness amid an insulated, dull existence. Along his travels, he comes across a unique find, a live plant! One day a spaceship lands and deposits a robot probe. Fascinated by this kindred machine, Wall-E follows and eventually befriends this unit known as Eve. Eve has a directive that will hopefully return humans to Earth if only it can sustain life, and Wall-E’s plant figures immeasurably. Eve is returned to her mother ship with Wall-E frantically chasing after his newly found love. On a spaceship acting as a living city for its machine-dependent, overweight humans, little robots are not only the caregivers, but in control. Wall-E and Eve must figure a way to return the humans to earth and find happiness even if it means making the ultimate sacrifice.

Wall-E’s innocence and childlike wonder (think E.T.), as exemplified by how he introduces himself to everyone he meets, could almost have sprung from Steven Spielberg’s imagination. It’s in the small details that enrich Wall-E as a character. He brings to mind an amalgam of past robots like Star Wars’ R2-D2 and the little robots in Silent Running, and his fears and joys are expressed through body language and squeals. When he shuts down each night to sleep, he rocks himself as a child would. He is clumsy around Eve, and when he takes her to his makeshift home of robot parts and paraphernalia, he is like a little kid. Ironically, he is the catalyst to bring the humans back home.

Writer and director, Andrew Stanton (Finding Nemo), takes a huge risk by basing the film’s premise almost entirely on a song from Hello Dolly. I can’t think of an animated film that relied so much on visual storytelling. Even Fantasia and Allegro Non Troppo were collections of musical sequences not narrative features. In a way, this film is almost too sophisticated in its display and execution for little kids but is just right for adults. Remarkably, this is a tale with nary a spoken word by the principals. One has to think of silent films to approach this achievement. The operative word here is pathos like the best of Charlie Chaplin’s little tramp and, amazingly, this film earns its stripes by emoting body language, action, and sound effects. Yet most of the characters aren’t even human!

Fred Willard has an amusing small role as the corporate president. Sigourney Weaver, as the ship’s computer voice, is an inspired choice since, like Eve, she was a female hero (in the Alien movies) and had to deal with computer voices in those films. The animation is almost 3-D in its rich detail and simulated, fluid camerawork. The interior of the mother ship, the Axiom, is a futuristic view of a commercialized (think Blade Runner) city in space.

Yes, it is a thinly veiled message for all those ‘save the earth’ and ‘think green’ people, but that never detracts from the main theme of saving humanity amid a touching love story. There are moments when you think a scene could have played out a bit better, but that is minor. It is likely that Wall-E’s reputation will grow over time as a shining example of stretching the art form by challenging and trusting its audience. Bravo to the folks at Pixar for taking a chance and for entertaining and moving us.

***1/2 of **** stars (preceded by a winning short, Presto)

Looking for an animated film that the whole family can watch and enjoy? Then the summer has a good selection in Kung Fu Panda, a magical tale of talking animals, martial arts, eastern philosophy, and good versus evil. It is also voiced by several well known stars not the least of which is the force of nature that is Jack Black.

Panda bear Po (Jack Black) works for his father’s noodle business in ancient China but yearns for something more. His interest in martial arts leads him to being an accidental selection as the ‘chosen one’ to defend the local town from a vengeful leopard Tai Lung (Ian McShane), a former student of the wise, martial arts teacher, Shifu (Dustin Hoffman). As the ‘chosen one’, Po is given the sacred Dragon Scrolls and is trained by Shifu in the ways and technique of Kung Fu much to the consternation of the Furious Five, the current crop of warriors. Po presents the ultimate challenge both physically and mentally to Shifu until the master hits on an unorthodox idea. As Tai Lung approaches and the Furious Five attempt to defend the town, Po must learn the ways of the true warrior. As he begins to mature and learn about himself, he becomes the last line of defense.

This story nicely blends serious themes with moments of comedic fun. What is refreshing in the humor is that it is organic and timeless without resorting to pop references (as in Shrek)-no small feat. It also depicts the ancient Chinese warriors with not only martial arts prowess, but abilities to defy gravity as in Crouching Tiger Hidden Dragon. Children will find a wondrous, far away land populated by real people in the guise of animal characters. It is a believable world with real feelings of yearning, tradition, envy, and bravery.

A somewhat more subdued Jack Black does a fine job emoting and realizing the young Po. Dustin Hoffman is quite good as the wise sage, a sort of Asian Yoda (or the other way around). It’s rather hard to believe the star power behind the other voices including Angelina Jolie, Jackie Chan, and Seth Rogen. The movie could have worked just as well without them.

The movie actually gets better in the middle and toward the end, not that long a wait. Its basic themes of destiny and loyalty are universal. As Master Shifu says, “there are no accidents.” The animation and creative use of camera angles and zooms are breath taking at times. You kind of wish the script had just a bit more substance and this would have become a treasured classic. As it is, Kung Fu Panda is a delightful, inoffensive adventure with something for all ages.

*** of **** stars

The question that begs to be asked is if the latest installment of Indiana Jones is any good? The answer is yes, and one needn’t fret over another letdown like The Phantom Menace, which undermined the original Star Wars trilogy. Indiana Jones and the Kingdom of the Crystal Skull, far from perfect, gets the job done and carries on its tradition of high adventure in satisfying fashion.

In 1957 Nevada, mysterious soldiers persuade Dr. Henry ‘Indiana’ Jones Jr. (Harrison Ford) to locate an important crate amidst a large warehouse of X-Files type of treasures. A ruthless Russian, Irinia Spalko (Cate Blanchett), leads her troops in an obsessive search for a mythic, crystal skull of unknown origin that may have potential psychic powers if it is joined with other skulls hidden in a lost city in the South American jungle. Meanwhile at his college, Professor Jones meets young ‘Mutt’ Williams (Shia LaBeouf) who needs Indy’s help to rescue his mentor, Dr. Oxley, and his mom, Marion. It seems they, too, have been hunting for the skull. Pursued by Russian agents, Indiana and Mutt attempt to rescue their comrades while discovering clues about the crystal skull. During the journey, certain truths emerge, and Indy must confront his past and a former love. As Irina closes in, who will survive when the enigmatic skulls are reunited and unleash their hidden, unworldly power?

The screenplay by David Koepp cobbles previous stories and ideas from a battery of writers. While it has more heart than any Lara Croft film by far, one wishes that original writer, Lawrence Kasdan, had a final rewrite to punch up the emotional content to compliment the action. I do like, however, that they tease you with the possibility that Mutt may or may not be Indy’s son and if Indy will ‘get the girl’. Bravo to the filmmakers for confronting these issues head on by story’s end.

Harrison Ford may be 65 years of age, but he looks great and does most of his own stunts! (To put things in perspective, John Wayne was 62 in True Grit and Cary Grant was 59 in Charade.) Shia LaBeouf is more than able as his new sidekick with a greased comb and an attitude, and Karen Allen is most welcome as Marion, able to take charge and hold her own. Cate Blanchett is appropriately sinister and alluring as the deadly Irina. Unfortunately other talents are not well developed, leaving in its lurch, John Hurt as Oxley, Jim Broadbent as a college dean, and Ray Winstone as an older sidekick with his own agenda.

While Raiders of the Lost Ark had countless, memorable action scenes, this film has a few of its own. There are the usual barrage of bloodless shootouts, fistfights, and bits of customary nastiness with bugs, snakes and skeletons not to mention the exciting climax where you just know the greedy, evil commies will get theirs. Naturally, some of the scenes strain credibility in being quite implausible and unrealistic (as in plunging from a waterfall or two or three), but it is all in good fun. The hair raising escapes are like a well oiled machine particularly in an exhilarating but impossible chase in the jungle as major characters leap among three, count ‘em three moving vehicles! And if it feels like parts of the story seem familiar, keep in mind that the filmmakers are paying homage to the Saturday morning serials of their youth. Other referenced movies come to mind like Forbidden Planet and Journey to the Center of the Earth.

Production values are top notch. Veteran composer John Williams rekindles the musical cues, and Michael Kahn’s editing pushes the limits of nail biting suspense. A couple scenes look a little sloppy and don’t come off as well as they should, and although there are some slow spots with confusing dialogue and murky exposition, there is always a marvelously choreographed action scene waiting around the corner. For example, the opening sequence is vintage Indiana Jones as Spielberg builds up a grand entrance for his star and puts him in immediate peril. Later, there is an anxious moment when Jones is about to be caught in an atomic blast and must use his wits to survive. What has always made the character so likeable is that he is fallible. Even Indy’s mistakes and hiccups can be humorous and exciting, as evidenced in a sinking pit where he must come to grips with a childhood fear.

Lucas and Spielberg proved that lightning could strike three times in a row in the 1980’s (Raiders of the Lost Ark, Temple of Doom, and The Last Crusade), and now they have done it a fourth time. I put this film on par with the later chapters. Viewers who keep in mind how the 1950’s timeline lends itself to more science fiction elements, will understand that, while every Indy saga ends with a supernatural event, this one is grounded in the ‘watch the skies’ frame of mind. It is this conceit that may throw off a few fans of the older films.

The door is left open for more adventures, but the film does wrap things in a neat bow. You wish that they would just leave well enough alone and gracefully end on a high note. Indeed, the last, parting shots are terrific for fans. As with the previous chapters, this film is likely to improve with repeated viewings. I seem to recall liking the first one and then savoring it considerably more over time. Indiana Jones ages like fine wine. Drink up.

*** of **** stars