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12.20.2022West Side Story (Movie Review)
12.2.202110.14.2008 | By Alejandro Arbona |
Rated: PG-13 for adventure action and violence.
Release Date: 2008-05-22
Starring: David Koepp, George Lucas
Director(s):
Distributor:
Film Genre:
Country:USA
Official Website: http://www.indianajones.com/intl/es/teaser/
Finally, people will stop saying âIndiana Jones and the Temple of Doomâ was the bad one. âIndiana Jones and the Kingdom of the Crystal Skullâ opens in the thick of the cold war, with Soviet agents forcing Indiana Jones (Harrison Ford) to retrieve a mysterious artifact of great power. This early sequence and the few that follow it are when the cold war theme and anti-communist paranoia are most evident.
But shortly after, the story circles back to an extraterrestrial theme, which comes off extremely leaden here. The film briefly mentions Indyâs years of service as a colonel in World War Two, and his turn as a double agent in Berlin. I for one would have MUCH preferred to watch a movie called something like âThe Treacherous Colonel Indiana Jones and the Valkyries of the Führer.â Itâs not that the alien theme of this movie disappointed me, not in the least; itâs that once âCrystal Skullâ sinks into that mystery, it loses the spirit of the 1950s suspense and horror movies it should be aping.
All those 50s genre movies were charged with the publicâs fears: the cold war, nuclear weapons, communist subversion (or satire on the unfounded fear of that subversion), etc. Spielberg placed touches of that on the surface, but not the slightest hint of the subtext that can be explored so eloquently with that era. When only âCrystal Skullâ flirts with these themes is when the Soviet Irina Spalko (Cate Blanchett) describes the power of the titular skull: mind control. I was reminded of one of the classics of cold war paranoia, âInvasion of the Body Snatchers,â albeit without the slightest subtlety. And aside from that description, we never again identify what exactly the skullâs power is â we never get to really see it in action. Spielberg breaks the first rule of the very adventure storytelling he perfected into an art form: show, donât tell.