It's Judd Apatow's world and I'm just living in it

The other day MTV.com broke the news of Judd Apatow's next directorial effort which will focus on the challenges and drama of the world of stand-up comedy. Being described as a funny drama
(fair enough) the film will star Seth Rogen, Leslie Mann and long-time Apatow friend Adam Sandler. Also announced the other day was Eric Bana joining the cast. This is awesome for two reasons 1) before being a big-time dramatic actor in America, Bana was an Australian comic and it'll be cool to see him flex his comedic muscles here and 2) as you may remember Knocked Up is predicated on Rogen's boost of confidence by seeing the Bana starring Munich. Small world, eh? The movie remains untitled and will likely have a hilarious poster with a close-up of the lead's (I'm still unclear whether it's Sandler or Rogen) face.

Speaking of Sandler and Apatow, I was pretty confident that I'd be skipping Don't Mess with the Zohan but after having read this eye-opening interview with Apatow co-writer and comic genius Robert Smigel I'm having serious second thoughts. It would seem there is a bit more going on with the film thematically and character-wise than the very broad slapstick-y ads would have me believe. Don't believe me? Read the interview. I should've known better that a Smigel project would be a bit more politically minded than your run of the mill studio comedy (this is after all the brain behind the consistently excellent TV Funhouse segments on SNL and Triumph the Insult Comic Dog). It frustrates me that it wouldn't take much to counterbalance the trailer and make it appeal to a slightly savvier audience and thus broaden their profit, but no no let's go for the idiots and under-tens.

Smells fishy (what? she was covered in Sushi, what did you think I meant?)

The other night I braved a sea (a sea I tell you) of rabid female fans in order to watch the Sex and the City Movie. I wonder if when a few weeks ago Manhola Dargis of the New York Times was clamoring about the summer movie season providing little recourse for women was she really talking about a lack of event films for women. If she was, well Manhola need worry no more, at least not for this week. For millions of female fans this movie is ground zero this summer. It's Iron Man, Batman and Indiana Jones combined. I found myself in line two hours ahead of time because of my friend Allison (a fan but "not a die-hard fan") wanting to see it for her birthday. Let me tell you, oh loyal reader, that was one crowded, rowdy line. People were camped out, lying down right on the floor of the theater, taking pictures, eating dinner, women were dressed to the nines and they brought all their classic accessories (handbags, cell phones, over-sized sunglasses, a gay man). Now at this point I should say that obviously not all women love Sex and the City (or that the ones who do are vapid morons-I'm not about to get into a whole ewww girls internet fanboy rhetoric here), some like Highlander and helpfully get rid of your extra furniture as they're moving out (THANKS DANI), but a lot of them do. I saw a large, large group of women (about a 15:1 female to male ratio) in the theater of a variety of ages, class and ethnicities and they seemed pretty enamored of the film. Or perhaps it was that they felt more enamored of the characters and getting an opportunity to see them again since the film itself is no great shakes. Executive producer, writer and director Michael Patrick King, has for all intents and purposes created a very long, predictable romantic comedy, or if you'd rather, offered up fans a five episode extra glossy finale marathon.

A fun, frisky, garishly glittery opening brings the audience up to date (and unfortunate newcomers a quick catch up). There's former WASP turned JAP Charlotte (Kristen Davis, who aside from a simple pregnancy and some unfortunate waddling scenes isn't given much to do other than look cute), responsible and dour mom and lawyer Miranda (Cynthia Nixon giving the movie it's dramatic heft), horny and brassy Samantha (Kim Catrall, who has less to do than Charlotte and can appear in New York like magic despite living in LA, is the clear audience favorite) and of course queen-bee Carrie (Sarah Jessica Parker) who's impending nuptials to Chris Noth's Mr. Big and where THAT story goes make up the bulk of the film's run-time. The film purports to not be a fairy-tale (a fact driven home by it's characters again and again) but how could it be anything else? If by my mere description of the characters hasn't tipped you off to their eventual fates might I bid you a happy welcome to the world of narrative fiction. I hope you'll enjoy your stay. These are women who despite all obstacles do find love and contrary to their remarks ARE defined by their relationships. There may be some bumps along the way, but ultimately it's nothing that a makeover, impromptu fashion show (hope you like clothing montages, there's at least four of them) or a bonding session filled with something-tinis won't fix. The film even goes so far as to have a digital age fairy godmother for Carrie, Louise (Jennifer "I have more Oscars than any of these veteran actors" Hudson). Hudson acquires a job as Parker's new personal assistant by saying that she came to New York in search of love. By all means try this technique at your next job interview and let me know how THAT goes.

Hudson helps Parker get her groove back in the film but she doesn't really do any kind of dramatic work to build off that Oscar win of hers. The actors themselves seem to be enjoying themselves and settle comfortably in their roles. Nixon and her on the outs hubby Steve (David Eigenberg) provide the film's gravitas as their marriage unravels and creates a series of other obstacles for the characters, though Noth and Parker also get some good scenes together. I'd be lying if I said I didn't get a few laughs out of the film, but not in proportion to it's run-time. Michael Patrick King knows how to push the fan buttons but the film never really escapes it's TV roots, it's just an episode of the show writ large. The moment this film was announced I think the entire would-be audience decided whether or not they'd be in attendance so ultimately you've made your decision, all I can say is that he film provides a nice tidy, FAIRY TALE bow to the world of these characters, which is probably for the best. As for the title, well there is plenty of New York City (at least they got that right-though it is a part of the city that I, no being a woman in her forties see much of) but a surprisingly little amount of on-screen sex. I found this problematic give the m.o. of the show, here was an opportunity for some well orchestrated eroticism on a mainstream screen, but with one short exception there really isn't that much sex or nudity on display. I hope now that this story is resolved these actresses and writers can go and create something smarter and more progressive to add to the romantic comedy genre rather than just be the big lazy fish in the increasingly dwindling pond.

You will be risking your lives, whilst I will be risking an almost-certain Academy Award nomination for the Best Supporting Actor.

This one gets me right in the guts. If there is one filmmaker I love on a primal, instinctual level from my childhood more than Steven Spielberg, then that man is Mel Brooks. Brooks, his writing collaborators and his actors created a secret club of jokes and gags and references and let the world in on the secret. Much of my sense of humor has been shaped by Brooks and unquestionably my favorite actor in his glorious comic stable was Harvey Korman. Korman tended to play villains in Brooks films. Korman villains reveled in their evil, Korman might as well have been bathing in it. Like most actors in Brooks' films he looked like he was having the time of his life. He was playing his heart out but always serving the scene and the other actors in it. I empathize with Korman's characters because they express a very human desire to cut loose and do their own thing but have the grand misfortune of being surrounded by incompetents who simply can't match his vision. No one gets amusingly angry like Harvey Korman. Korman was a master at wrapping himself around some of Brooks' most challenging fast paced dialogue and it appeared as though he relished every moment of it. I think the actors we end up liking the best are the one's we saw a lot of ourselves in and the way Korman played Hedy Lamar (That's HEDLEY!) in Blazing Saddles, well I could relate. Being an evil genius can be frustrating work, but damn if it's not enjoyable. Madeline Kahn scored an Oscar nomination for her work in the film but it doesn't tke much to notice that Korman was equally award worthy.


I'd be remiss to go without mentioning Korman's equally enjoyable turns as the nefarious Count de Money (de MONET!) in History of the World: Part One and as Dr. Montague in the charming Hitchcock send-up High Anxiety.
Korman is also known as a part of the legendary TV comedy institution The Carol Burnett Show. Korman's delightful comic egotistical persona got quite a work-out on the show as did his jaw muscles as Korman could frequently be seen breaking charcater and bursting out in laughter during sketches. Who could blame him?
Korman was also an accomplished voice actor, perhaps best known for voicing Fred Flintstone's alien companion the Great Gazoo. Which reminds me that Korman is also excellent as Wilma's father, Col. Slaghoople in the better than you think it is The Flintstones Viva Rock Vegas.
Mr. Korman, you will be missed, now go do that voodoo that you do so well.

Link Fist Way

So much good linking action for y'all this week. A lot of funny and a lot of awesome.

LINK OF THE WEEK: As you may have heard Peter Jackson and Guillermo Del Toro will be collaborating with WETA studios on two Hobbit movies, one based on the book and the other acting as a bridging film between the Hobbit and the Lord of the Rings trilogy. At first I was concerned that Guillermo was being taken away from his passion projects to be a gun for hire but reading this amazing chat transcript the two bearded geniuses took part in comforts me a great deal. Be blown away by Hobbit-y awesomeness here.

Funny: College Humor's gorgeous man-candy (mandy?) Patrick Cassels has another amusing film-related write-up about God in the Indiana Jones trilogy. Laugh at face-melting here.
Meanwhile over at Cracked, they've compiled a list of the six least plausible jobs held by Steven Segal in films. Hey, cracked, here's a tip, of the job isn't tubby, pony-tailed douchebag it's not a plausible Segal job.
Cracked has also compiled a list of the eight least intimidating gangs in film history. They're way off about the side gangs in The Warriors. The only one's that should've made the list are the Orphans (seriously, check with their parole officer).
Several kind souls (all of them smart savvy ladies...and Etan) referred me to articles like this about the archeological "inaccuracy" in the Indiana Jones movies. Cute.
Speaking of Indy, the AV Club had some snarky, amusing things to say about the film.

Prurient: I've been listening to the fabulous She & Him Volume One A LOT lately. The group is comprised of studio brat M. Ward and the incredibly adorable Zooey Deschanel (Elf, Hitchhiker's Guide to the Galaxy and a whole bunch of depressing indie films). Unlike ScarJo, Zooey can really bring it vocally. She's also hot as hell, see?

Lists & Analysis: Scene Stealer's has comprised a list of 10 flops turned classics. Oh in-theater audiences, you never know a good thing even when it's right in front of you.

They moved the island and other excuses

My internet was naughty, Lost was excellent and then I got bummed (at the passing of Harvey Korman-an actor whom I have tremendous affection for) and now you know why I took a day off from posting. No fears loyal fans, I'll be doing my usual Friday link round-up early tomorrow morning, talk about the late, great Mr. Korman and then, oh man, oh jeez, oh man, review The Sex and the City Movie. That's right, tonight I will be sitting down to a prada crunching TWO AND A HALF HOUR estrogen fest all in the name of your blogging entertainment (and for my friend Allison's birthday). Those are the only two reasons.

A Post-Memorial Day Meme

I'm cherry picking this Memorial Day movie meme from Sergio Leone and the Infield Fly Rule feel free to answer in the comments.

1) Best transition from movies to TV (actor, actress, producer/director, movie/show)?

I think that High Laurie and Dominic West are dynamite on their respective TV shows and tend to get bogged down on the big screen. Paul Feig and Ken Kwapis also probably better off directing TV than movies (as Unaccompanied Minors and License to Wed demonstrated).

2) Living film director you're most missing seeing on the cultural landscape regularly?

Michael Mann, one of the finest working directors in American cinema seemed to have disappeared after the unfortunately titled Miami Vice.

3) Eugene Pallette or Charles Coburn?

It's close but Charles Coburn OWNS Lady Eve. "Let us be crooked but never common."

4) Fill in the blank: “I pray that no one ever turns _____________ into a movie.”

With the right script, production and director there is no such thing. Naked Lunch, Unbearable Lightness of Being and Pirates of Caribbean should in theory all be "un-filmable" and they're all wonderful.

5) Jane Greer or Veronica Lake?

Jane Greer for Out of the Past.

6) What was the last movie you saw in a theater? On DVD? And why?

I caught Iron Man again (my friend Jesse hadn't seen it) and hope to see Reprise very soon. On DVD I finally watched the brilliant French noir Rififi on the recommendation of my friend Matt who knows a ton about the genre). That is one gorgeous brutal ending.

7) Name an actor you think should be a star.

Judy Greer is being wasted in funny friend roles, Lee Pace should be what Ewan McGregor was supposed to be.

8) Foxy Brown or Coffy

Coffy is just a little more gritty.

9) Favorite TV show still without its own DVD box set.

Spaced, but soon, oh so soon.

10) Jack Elam or Neville Brand

Jack Elam has the face of a titan.

11) What movies would top your list of movies you need to revisit, for whatever reason?

I'd like to take another look at Birth (always worth another look), Network (the last piece on the filmexperience really motivated me), Tootsie (missing Pollack already), The Mist (cause that it was one cool DVD) and The Thief of Baghdad (want a crack at that new Criterion collection disc).

12) Zodiac or All the President’s Men

Hmm maybe I should take another look at All the President's Men, I haven't watched it in about a decade. On the other hand Zodiac is a modern masterpiece in it's own right. Maybe I should add them to the above list. OK, gut instinct...Zodiac. Just to get another look at that picnic scene.

13) Using our best reviewer-speak, what is an “important” film comedy? And what is to you the most important film comedy of the last 35 years?

The most important comedy in the last 35 years is Anchorman. Here's why, it ushered in Judd Apatow as a major producer, announced Will Ferrell as a major box-office draw in a non-family comedy, introduced key comedy clique members Paul Rudd, Steve Carrell and David Koechner to a broad audience and ushered in the arrested adolsecent style of comedy couple with non-sequiters.

14) Describe the ideal environment for watching a movie.

A theater with the proper sound and projection that is filled with a polite but enthusiastic and interested audience.

15) Michelle Williams or Eva Mendes?

Eva Mendes has only ever been sexy and yet to impress me even slightly dramatically. Michelle Williams on the other hand has demonstrated tremendous versatility from Brokeback Mountain, The Baxter to the Station Agent.

16) What’s the worst movie title of all time?

Any title ending with a "z" where an "s" should be is probably a bad sign.

17) Best movie about teaching and/or learning?

I was thinking about School of Rock the other day and was pretty damn inspired. It really captures the joy created in a classroom between teachers and students.

18) Dracula (1931) or Horror of Dracula (1958)

Horror of Dracula is a little bigger (in melodrama, scope and gore) and as one of film professor's once infamously said of the original Dracula, "It's so bleedin' slow."

19) Why do you blog? Or if you don’t, why do you read blogs? (Thanks, Girish)

To keep my creative writing muscles limber, to organize my thoughts on film, to entertain my friends, take your pick.

20) Most memorable/disturbing death scene.

Hard to say but most recently I was pretty impressed when Victor Crowley ripped a woman's face off from the jaw in Hatchet. In terms of disturbing I'd say any of the deaths in Funny Games.

21) Jason Robards or Robert Shaw?

Quint, no contest. Also my favorite Henry VIII ever.

22) A good candidate for Most Blasphemous Movie Ever

There was some pretty blasphemous shit going down in Indiana Jones and the Kingdom of the Crystal Skull.

23) Rio Bravo or Red River?

Ugh, make me pick one child over the other why don't you. Rio Bravo has better chracaters and a WAY better ending so I guess Bravo.

24) Werner Herzog is remaking Bad Lieutenant with Nicolas Cage—that’s reality. Try to outdo reality by concocting a match-up of director and title for a really strange imaginary remake.

John Waters remaking Top Gun. Oh please God.

25) Bulle Ogier or Charlotte Rampling?

Rampling is breathtaking.

26) In the Realm of the Senses— yes or no?

Haven't seen it yet, but I've heard it's pretty rough going.

27) Name a movie you think of as your own (Thanks, Jim!)

Terry Gilliam's Brazil feels like how I look at the world.

28) Winged Migration or Microcosmos?

Micorocosmos, I can't look down and see what I see in that movie. I can look up and see Winged Migration.

29) Your favorite football game featured in a movie

The climax of Rudy, I'm not made of stone.

30) Wendy Hiller or Deborah Kerr?

Deborah Kerr for Black Narcissus, I've got favorites.

31) Dirtiest secret you have that is related to the movies?

I've seen the Hot Chick multiple times. I'm not proud of it. But I can't help myself.

32) Name a favorite film and describe how it is illuminated and is enriched by another favorite film.

Mullholand Dr. reflects back rather well on it's parallel street namesake Sunset Blvd. Both movies are thematically similar but Mullholand is more twisty.

33) It’s a Gift or Horsefeathers?

The Marx Brothers take it every time; Horsefeathers.

34) Your best story about seeing a movie at a drive-in?

No drive-in's for me. :(

35) Victor Mature or Tyrone Power?

Victor Mature, truly the Sly Stallone of his time.

36) What does film criticism mean to you? Where do you think it’s headed?

The best film criticism can illuminate and inform, can direct and suggest but it is never a substitute for your own opinion. I've heard it's heading online, I hope it doesn't devolve into mere reviews.

Sydney Pollack-It is a poorer world without him

Sydney Pollack passed away the other day at the age of 73. Sydney Pollack seriously classed up the world of film in his capacity as director, actor, screenwriter and producer. As a director he made a number of classy human dramas including Out of Africa, The Way Were and They Shoot Horses Don't They (great, GREAT ending if you've never seen it). His two favorite films of mine as a director were Two Days of the Condor (a seminal spy thriller) and Tootsie (a film that battles Some Like It Hot for best drag comedy of all time). He was a solid technician and a marvelous director of actors. As a producer he was influential in pushing powerful adult dramas through studios. In a time when studios go for the sure thing (sequels, remakes and so on) and franchises Pollack pushed for an American cinema full of deep, thoughtful movies like Searching for Bobby Fischer, The Quiet American and the better every time I see it Michael Clayton. Most recently he produced the excellent HBO movie Recount and the forthcoming, long awaited Kenneth Lonergan project Margaret. His production company Mirage Enterprise, which he helped found with the late Anthony Minghella, helped bring to life films like The Fabulous Baker Boys, Sense and Sensibility, The Talented Mr. Ripley and Cold Mountain.

As an actor Pollack specialized in playing venal, harsh and direct corporate types who knew how to lay down a serious truth bomb or two. Most recently he played Michael Clayton's boss, but he also did some serious screen scorching in Eyes Wide Shut and Changing Lanes. For an abslutely devastating Pollack performance you can't do better than his adulterous turn in Woody Allen's Husbands & Wives. He also brought some enjoyable dramatic heft to Will & Grace as Will's adulterous uber-Waspy father. My younger readers may recall him for his pre-movie advertisement where he interrupts a phone-call with some well-placed direction. This commercial nicely characterizes Pollack as a man who cared about a refined, clever, adult movie-going experience and for that, we here at the Sickness Cinema salute him.

Get your panties in a liberal bunch

HBO is struggling to regain it's number one spot in the hearts and minds of pay cable viewers since the double whammy loss of The Sopranos and Sex and the City (never you mind the premature death of Deadwood and the take down of GOAT [Greatest of All Time] The Wire) but this hasn't stopped them from indulging in quality programming. Promising projects like the new Bob and David show and solid material like Flight of the Conchords are likely to keep the network on the cutting edge of original programming and then there are special even shows. First there was the sprawling and wonderfully acted John Adams series and tonight brings Recount an original film based on the events of the Florida recount scandal. The freshman debut of screenwriter Danny Strong is as powerful and snappy as his namesake. The performances are uniformly excellent with Kevin Spacey, Laura Dern and Shiva himself Tom Wilkinson being special stand-outs. The film takes minor liberties with character personalities but the facts ring true and the best compliment I can give the thing is that it fills me with the same mouth filling bile I felt during the actual events.

Indiana Jones and the Kingdom of the Crystal Link

Well it's been a week full of up and down. Of fond remembrances and mild disappointment. I will say this though, at least it is over. We're well over-do for some smarty pants linking don't you agree?

Analysis and theory: Four GREAT cinematographers discuss how they chose their shooting format. If you're an aspiring filmmaker this is a must read right here.
The Cinematic Art blog discusses the confluence of psychoanalysis, criticism and auterism in the films of Woody Allen.
Nate over at the film experience just finished off a wonderful piece about the greatness that is Sydney Lumet's Network right here.
Turns out Frank and I weren't the only ones who liked Speed Racer. Sergio Leone and the Infield Fly Rule mach-a-go-go here.
Cinema Styles has a cute story about how the line of 2007 isn't going away any time soon. Good.

We Named the Blog Indiana: You're insulting them and you're embarassing me, now eat it

Indiana Jones and the Kingdom of the Crustal Skull is really several movies at war with each other. It's a for hire job to get the fans back on the side of it's creators, it's the actors chance to redeem or prove themselves to audiences and it's David Koepp's burden to patch together several different drafts in an attempt to satisfy a number of master's. Only one group really succeeds.
In his review of Indy 4 CHUD.com's Devin Faraci remarks that the film is definitive proof that Steven Spielberg could direct a movie like this in his sleep and did. While I wouldn't go that far I will say that Spielberg's direction feels very removed. There are flashes of brilliance but he never attains the sense of awe that is the Spielberg hallmark. It feels very by the numbers and the film loses the organic, analogue feel of it's predecessors. It may have less CG than the average summer blockbuster but it never quite blends seamlessly into the world. I'd rather have the green screen or matte paintings of the previous film, it gave them a sort of unified feel. DP Janusz Kaminski, a great cinematographer in his own right, feels a bit lost and the opening scene has the sort of distance and feeling of unreality found in the Star Wars prequels. The script, while loaded with inventive action sequences feels bloated and mismanaged, a case of not enough fine tuning and editing. Characters are introduced and then given nothing to do, problems are solved through luck or convenience and Indiana Jones spends a great deal more time explaining rather than doing. The problem is that there are huge swaths of the film that aren't really about anything other than going forward (oftentimes with little more motivation than "because I have to"). That said the film does at time's return to the groove and feel of the previous films and consequently a good hour stretch of the film is purely enjoyable without any reservations.

SPOILERS FOLLOW:
The film continues the Indiana Jones tradition of never repeating the same type of opening twice. This time it's a lively bit of drag racing between Nevada teens and an army convoy (secretly Communist agents in disguise). The Communists destination is a secret army base that is both a storage facility as well as a nuclear testing site. It is here that the villainous Irina Spalko (Cate Blanchett channeling Natasha Fatale from Rocky and Bullwinkle) releases our nineteen years older, but not at all worse for wear Dr. Jones from the trunk of a car. Say what you will about the film but Harrison Ford is the most alive and in the moment as he's been in a motion picture in over a decade. He's having loads of fun and it shows. The Communist want Jones' expertise to help them find something in the warehouse, something magnetic. Jones however, isn't having it and wants out. Unfortunately this opening warehouse sequence is ridiculous in the extreme. Jones was always an adventure hero but Spielberg has him jumping, swinging and fighting like a super-hero instead of a mortal man. The dialogue is a bit stilted and awkward as we're filled in on Jones' relationship with OSS agent Mac McHale (Ray Winstone) and Indy's past as a Colonel in the US army. Then Mac, Indy's long-time friend mind you, goes and betrays him to the Russians. But no matter because even with as good as an actor as Winstone in the part Mac is so thin that the betrayal means nothing to the audience.
As Indy escapes he makes his way to the aforementioned nuke testing site and but for a lead-lined refrigerator would certainly be killed. When Indy makes it back to civilization the US government (as embodied by a suspicious FBI agent played by Neil Flynn aka The Janitor from Scrubs) worried about his possible affiliations with both the reds and Mac basically black list him. Indy returns to Marshall college where the new Dean (a well-intentioned but wasted Jim Broadbent) informs him that he can no longer teach at the school.
It's HERE that the movie I loved begins. There is a nice somber scene where the movie really becomes about something, notions of legacy and mortality that it pursues for a bit until the effects once again take over in the film's final third. As Jones ponders a life without teaching he discusses the losses of both his father and Marcus Brody. Here the scripting becomes almost elegant. "You reach a point in your life where life stops giving you things and starts taking them away." Had the film revolved more about the fallacy and truth of this statement it might have a bit more "oomph." Just as Indy is about to leave the campus, life gives him something instead of taking it away and that something is Mutt Williams (Shia LaBeouf). The introduction of Shia LaBeouf, of Mutt really, kick-starts the film into high-gear. He's an enormously fun character, a curious adventurer who's hair-obssessed greaser veneer hides an uncertain Mama's boy. He and Ford have wonderful chemistry. Mutt relays to Indy that his Mom and their mutual family friend Professor Oxley (John Hurt, as thinly characterized as the other Brits in the movie) have been kidnapped by the Russians and he needs Jones' help in deciphering the clues Oxley has left behind to find his family and the mysterious Crystal Skull of Akator. Unfortunately Mutt's acquisition of a note from Oxley was an ellaborate trap by the Russians and soon Mutt and Indy are locked in a thrilling motorcycle chase through the campus as the younger and older man impress each other with feats of daring-do. Then it's off to Peru where Mutt and Indy bond over unraveling the clues Oxley left behind. There's plenty of fun catacomb exploring and native fighting but the pair are eventually captured and the Russians want Jones to decipher Oxley's insane ramblings. He's compelled to do it when they reveal their prisoner (and Mutt's mother) Marion Ravenwood (Karen Allen, lovely but not given much to do except for some cute bantering). Yes, that means EXACTLY what you think it means, Mutt is really Henry...Jones...III. Indy's reaction to seeing Marion after so many years is so great that it almost makes the entire film worth it. I loved the early scenes with these two actors. Marion truly was Indy's perfect partner and had the film been about this newly discovered family unit and the legacy of the Jones' we'd really have something. This idea begins to carry over as Jones goes from cool contemporary to Mutt to basically the reincarnation of Henry Sr (going so far as to shout "This is intolerable" as Mutt drags him through an escape). We get the start of a cool Indy chase as various vehicles race through the rain forest as all the characters scramble for the skull. It's very exciting until a derailed Mutt has to pull a Tarzan, inexplicably mastering swinging on conveniently placed vines in seconds.
From here the film dips back from exciting, fun Indiana Jones movie to silly, over-stuffed with characters, by-the-numbers puzzle solver. Indy spends a lot of time explaining to us what's about to happen and then Oxley uses the titular crystal skull (easily my most hated MacGuffin EVER!) to do all the work. Oh that Crystal Skull. Whether it's repelling army ants and natives, opening doors, reading minds or turning a temple into a spaceship, the crystal skull is a lazy screenwriters dream. Oh how I yearn for the days when Jones solved problems through ingenuity, elbow grease or luck, here all problems get crystal skull-ed away. The end is never really in question but still there is enough promise shown in the Mutt and Indy's relationship that I wouldn't mind seeing a Last Crusade-esque follow up. Then again, maybe enough is enough and it's time for Dr. Jones to give it a rest. Regardless of the years the mileage may be too high.