Indiana Jones and the Kingdom of the Crystal Skull
Moving the “Indiana Jones” series from the 1930s to the 1950s is more than just a concession to the passage of time. It opens up a slew of new pop-cultural reference points for George Lucas and Steven Spielberg, the consummate entertainers who created the character. “Indiana Jones and the Kingdom of the Crystal Skull” offers exactly the sort of adventure Indy should be having in 1957, one that leaves behind biblical artifacts in favor of science fiction. Anyone who thinks that’s an inappropriate turn for the franchise probably has an inflated sense of the earlier movies’ importance. Spielberg made “Raiders of the Lost Ark” as an homage to the cheeseball matinee serials of his youth, and the new movie honors that tradition. It weaves just enough intrigue around the McGuffin – a crystal skull that seems not to have been carved by human hands – before launching into a rousing series of chases, fights and quests. Creaky and cranky old Harrison Ford appears rejuvenated as he dons the fedora and bullwhip again. His callow co-star, Shia LaBeouf, brings Ford-like energy and professionalism. The supporting cast is shakier, including, sadly, Cate Blanchett as a power-hungry Soviet operative. She looks great but never instills much fear. The first three “Indiana Jones” movies were made before the dawn of CGI, and with a few unfortunate exceptions, Spielberg resists indulging himself on digital imagery this time. Most of what you see on screen are actual objects in front of the camera, and that’s just one of many ways in which “Indiana Jones and the Kingdom of the Crystal Skull” provides solid entertainment.