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2014 Venice International Film Festival Winners

Venice International Film Festival, known as La Biennale di Venezia takes place annually
in late August, early September and is regarded as the oldest Film Festival in the World

Golden Lion (Best Film): A Pigeon Sat on a Branch reflecting on Existence directed by Roy Andersson (Sweden)

Silver Lion (Best Director): Andrei Konchalovsky for The Postman’s White Nights (Russia)

Best Actor: Adam Driver – Hungry Hearts (Italy)

Best Actress: Alba Rohrwacher – Hungry Hearts (Italy)

Source – http://en.wikipedia.org/wiki/71st_Venice_International_Film_Festival

Hercules

Director: Brett Ratner

Cast: Dwayne Johnson, Ian McShane, Rufus Sewell, John Hurt, Reece Ritchie, Joseph Fiennes, Tobias Santelmann, Ingrid Borso Berdal, Rebecca Ferguson, Aksel Hennie

After Hercules completes the 12 labours, the demi-god gets involved with a civil war in Thrace http://en.wikipedia.org/wiki/Thrace. Based upon the graphic novel, Hercules: The Thracian Wars by Steve Moore, director Brett Ratner (After the Sunset, Tower Heist, The Rush Hour Trilogy) brings to glossy cinematic life this ancient loincloth adventure which shows Hercules played by Dwayne Johnson (GI Joe, Rise of the Cobra) along with a band of mercenaries including Amphiaraus (Ian McShane), Autolycus (Rufus Sewell), Amazon archer Atalanta (Ingrid Bolsø Berdal) and his nephew storyteller Iolaus played by Reece Ritchie in various Thracian turmoils.

Hercules and his bloodthirsty and feral band of misfits are approached by Ergenia played by upcoming Swedish actress Rebecca Ferguson on behalf of her father, the duplicitous Lord Cortys played by veteran British actor John Hurt to quell a civil war brewing in Thrace, supposedly led by the gruesome insurrectionist warlord Rheseus played by Norwegian actor Tobias Santelmann.

As the battle ensues it soon emerges that Lord Cortys has a secret alliance with the evil King Eurystheus who is wonderfully played by Joseph Fiennes (Shakespeare in Love) who tormented Hercules with the notion that he was responsible for the murder of his own wife and children, which resulted in his subsequent exile.

Painted by Pieter Paul Rubens

With superb cinematography by Dante Spinotti, director Brett Ratner brings a lavish eye to these mythological battles and while Johnson might not be as believable as Hercules, he is in terms of acting, he is so in terms of strength and brute force, quite opposite to the scantily clad Kellan Lutz in The Legend of Hercules.

Viewers shouldn’t expect Game of Thrones or 300 style gore or bloodshed in the battle scenes, as Ratner has deliberately chosen to make Hercules palatable to a teenage audience and has spared scenes of gratuitous nudity and gruesome violence.

Unlike the earlier film The Legend of Hercules, this version of Hercules portrays the man as more mature and hardened warrior famed for completing the 12 labours of Hercules and now embroiled in what is seemingly a Grecian civil strife.

Reece Ritchie 10 000 BC and The Lovely Bones fame does a superb job as the loquacious storyteller Iolaus, nephew of Hercules and the acting stakes are held up by British actor Rufus Sewell (Carrington, Tristan and Isolde) along with Scottish actor Ian McShane (Pirates of the Caribbean: On Stranger Tides), who seamlessly blend humour and bravado as they embark on their less than gruesome Thracian battles.

Hercules is a well narrated fun filled mythological adventure film with some stunning action sequences especially the closing battle and the toppling of the massive statue of Hera. Lovers of mythological films such as Clash of the Titans and Wrath of the Titans, will definitely enjoy Hercules, even if Dwayne Johnson’s acting leaves much to be desired.

This version of Hercules is recommended viewing and suitably classical complete with Grecian costumes and fantastic scenery where myth and legend blend to become a more plausible historical reality.

Casino Royale

Director: Martin Campbell

Cast: Daniel Craig, Eva Green, Mads Mikkelson, Judi Dench, Jesper Christensen, Jeffrey Wright

After a four year hiatus with the Lee Tamahori directed Die Another Day, (2002) the hugely successful Bond franchise returns with a glossy and brilliant cinematic adaptation of Ian Fleming’s first novel, Casino Royale originally published in 1953.

Director Martin Campbell (Goldeneye) updates Fleming’s novel to the 21^st century and the Bond franchise controversially introduces the new blond Bond, a blue eyed hunk named Daniel Craig whose film credits include Love is the Devil and Sylvia.

Judi Dench reprises her role as M while Jeffrey Wright takes on the role of Felix Leiter. Bond girl and femme fatale, Vesper Lynd is coolly played by the French actress Eva Green (The Dreamers) and the villain, a swindler, money launderer and compulsive gambler the infamous Le Chiffre is wonderfully played by Danish actor Mads Mikkelsen.

With a gritty opening sequence in Prague followed by a spectacular stunt and action sequence in Madagascar, viewers are reintroduced to Bond as a tough, rebellious British secret agent who is after the elusive source of Ellipsis, codename for an international terrorist money laundering ring with ties to Le Chiffre and his overseer the mysterious Mr White played by Jesper Christiansen, first seen in the Ugandan jungle.

As the action moves swiftly around the world from The Bahamas to Montenegro to Venice, Casino Royale is a superb and ambitious adaptation of the 007 novel, as all the central characters gamble with each other’s lives and motives, with Bond even getting caught in a horrendous torture sequence nearly breaks his British patriotism as well as his manhood. Bond’s love for Vesper Lynd is consecrated in a Hotel room in Montenegro while he is in between playing in an international high stakes poker, superbly teased out and the onscreen chemistry between Craig and Mikkelsen as Bond and Villain is palpable and nefarious.

Complimenting this classic hero/villain tension is the intense partnering of Bond and Lynd, with a matching chemistry between Green and Craig, showing that both actors are consummate performers and expertly cast together.

Besides the awesome stunts, the superb action and the intense gambling, Casino Royale belongs to Daniel Craig who makes the role of Bond his own and really proves his weight as the new Bond for the 21^st century, as demonstrated recently with two more Bond films Quantum of Solace (2008) and the hugely popular Skyfall (2012).

Retrospectively Casino Royale pays homage to all the elegant Bond films of the 1960s especially Dr No and Goldfinger as well as the Pierce Brosnan films of the late 1990s such as Goldeneye and Tomorrow Never Dies. Gone are the spectacular sets and outlandish plots of The Spy Who Loved Me and Moonraker which characterised the Bond films of the 1970’s, even though those films were the most popular of the Roger Moore series.

Casino Royale is glossy film noir with a great supporting cast, exotic locations and some jaw dropping sequences including the iconic shot of Daniel Craig emerging out of the Caribbean surf in nothing but swimming trunks, oddly enough paying homage to Dr No and Die Another Day.

Casino Royale is 142 minutes long and by far one of the best Bond films made in the expanding 007 filmography, memorable, thrilling and unsuspectingly heart wrenching. This is definitely a vintage Bond film and one to keep for all the ardent franchise collectors. Absolutely Brilliant.

Ideally Casino Royale should be watched before Quantum of Solace as the two films complement each other stylistically and the plot follows on chronologically.

Lucy

Director: Luc Besson

Cast: Scarlett Johansson, Morgan Freeman, Min-sik Choi, Julian Rhind-Tutt, Amr Waked

It’s a pity that Luc Besson return to the directorial chair seems to have backfired distinctively even with the able assistance of the ever luminous Scarlett Johansson (Don Jon, Matchpoint, Girl with a Pearl Earring) in the title role of his latest Sci-Fi action thriller Lucy. Lucy’s name comes from the first female Homo Sapien.

The bizarre plot revolves around a particularly sadistic Taiwanese drug ring headed by the sinister Mr Chang played by Min-sik Choi which have roped Lucy and three other unsuspecting drug mules into transporting a super potent mind expanding bright blue drug CPH4 from Taipei into all the major European capitals from Berlin to Paris. Think Neil Burger’s film Limitless on speed.

Whilst Limitless was vaguely plausible, Luc Besson’s Lucy takes the utterly strange sci-fi route which explores the full improbabilities of the premise, that what if humans could use 100% of their brain capacity. If this maximum cerebral capacity occurred, it would deliver contemporary society into a matrix of space and time so devoid of human capability that the effects of such a boost would enable humans to become time travelling virtual computers.

Unfortunately not even Oscar Winner Morgan Freeman as a distinguished neuroscientist Professor Norman could save Lucy both the film and the character from degenerating into a thick mass of black mess. After such superb films as The Fifth Element and Nikita, Luc Besson has clearly lost his touch as a director and should perhaps stick to writing the Taken franchise, as his screenwriting skills have clearly matured whilst his directorial skills have languished considerably.

Lucy is a short, violent sci-fi heavily stylized action film based on a premise which however visually fascinating soon becomes plainly silly and Besson does not allow much time in the film for any significant character development, that of Lucy’s, Professor Norman or any of the supporting cast. Director Neil Burger’s more honed film Limitless did just that which made it more believable culminating in an elegant thriller launching Bradley Cooper as a much superstar.

The concept of Lucy as an international drug thriller had so much potential, but unlike its title character it does not use its full narrative properly. Besides what were Scarlett Johansson and Morgan Freeman thinking? Clearly the chance to work with French director Luc Besson enticed them into a ridiculous plot which did not use their full potential as brilliant actors. Whilst the Taipei sequence is dazzling, Lucy clearly loses the plot in Paris.

Even the supporting cast including Julian Rhind-Tutt (Rush) as the Limey and Egyptian actor Amr Waked (Syriana, Salmon Fishing in the Yemen) as a confused French policeman Pierre Del Rio are both under utilized. Lucy has dazzling special effects and a superb musical score by Eric Serra, but that’s about as much as this thriller has going for it. Lucy can be back up viewing for a lazy Saturday afternoon. Not Recommended.

Nymphomaniac Vol: 1 and 2

Director: Lars von Trier

Cast: Charlotte Gainsbourg, Shia LaBeouf, Stellan Skarsgard, Christian Slater, Uma Thurman, Willem Dafoe, Connie Nielsen, Jamie Bell, Stacy Martin, Udo Kier, Mia Goth

Unlike 12 Years A Slave director Steve McQueen’s handsome New York set film about sex addiction, the highly acclaimed Shame, starring a gorgeous yet libidinous Michael Fassbender, Danish director and auteur, Lars von Trier’s Nymphomaniac Volumes 1 and 2 is on an entirely different level.

Explicit, provocative, brutal and shocking, this is von Trier’s seminal work on Freudian psycho-analytic film theory, the nature of sexuality and of society’s views on sexual deviancy and obsession. Warning these two films, making up a total of four hours viewing time is NOT for sensitive or prudish cinema goers.

Von Trier’s favourite muse Charlotte Gainsbourg (Anti-Christ) stars as Joe, a relentless nymphomaniac who is discovered beaten in a dark city alley way by a seemingly kind mysterious bachelor Seligman played by Swedish actor Stellan Skarsgard (Good Will Hunting, Girl with The Dragon Tattoo). As Joe recovers with copious cups of tea in Seligman’s drab apartment she frankly recounts in episodic form her life thus far as a nymphomaniac and the events leading up to her supposed downfall.

The younger version of Joe is played by Stacy Martin who as a young licentious teenager seduces all the men on the train in a bet with her friend B, played by Sophie Kennedy Clark. The sex scenes are graphic and unrelenting. Her insatiable sexual appetite is temporarily quelled when she meets Jerome wonderfully played by Shia LaBeouf, who has definitely come a long way from his Transformers movies. LaBeouf proves to be superb as the equally lustful Jerome, who apparently sent a sex tape to von Trier as part of his audition for this part in Nymphomaniac. It proves that Shia LaBeouf is willing to take major risks as an actor and more recently as a notorious performance artist.

Joe as a young girl displays her close relationship with her father played by Christian Slater (True Romance) and her non-existent relationship with her aloof mother played by Connie Nielsen (Gladiator). As Joe’s sexual awakening becomes more ferocious she ventures into some dark territory particularly as she resumes a relationship with Jerome and attempts to settle down and lead a normal existence. All this is shot in grey colours with lots of graphic nudity and sex, with von Trier intentionally deglamourizing sex and sensuality on screen and deliberately punctuating these pornographic images with bizarre directorial screenshots of fly fishing, predators, sunsets and forests.

In between Joe’s sexual adventures all done in flashbacks, is the frank discussion between the mature Joe a scarred Gainsbourg and the supposedly asexual Seligman, who provides some intellectual insights into her sex addiction along with Freudian psychoanalysis and historical anecdotes. As Seligman explains in Volume 2, that all children are born with polymorphic sexual perversions according to Freud which gradually are repressed or discovered  latently as the child becomes an adult and thus manifests itself in later life. This is classic Freudian psychoanalysis. Even Love is equated to Lust+ Jealousy.

So despite all the subliminal theory and explicit pornography, is Nymphomaniac Volumes 1 and 2 any good? Volume 1 is better than Volume 2, a more superior and controlled film but the entire diatribe about Nymphomania could have been edited into a more concise and elegant film. Then again Von Trier is not one to bow to Western film aesthetics and has never done so. His film 2003 Dogville was shot without sets in a sparse Brechtian style about a close knit community who does not accept outsiders with Nicole Kidman in the lead.

Nymphomania Volume 1 and 2 is not easy or comfortable viewing, but that its point. Especially Volume 2 where Joe’s sexual addiction takes her into the dangerous world of Sadomasochism, cue a rather sadistic master K played by Jamie Bell of The Eagle and Billy Eliot Fame. There are also brief appearances by Uma Thurman as a wronged wife Mrs H. whose husband has fallen for the nubile, precocious and younger Joe, bravely played by Stacy Martin and Willem Dafoe as Joe’s last employer a shady debt collector.

What should really be applauded is the bravery that these actors show in starring in such an explicit, unconventional and shocking film including Stacy Martin, Christian Slater, Shia LaBeouf and naturally Charlotte Gainsbourg (Anti-Christ). Audiences might want to walk out in several particularly disturbing scenes, but it’s worth staying until the end of Joe’s confession to Seligman, as all is not what it seems… Those not familiar with Lars von Trier’s previous films should definitely stay away.

Cowboys & Aliens

Director: Jon Favreau

Cast: Harrison Ford, Daniel Craig, Olivia Wilde, Paul Dano, Sam Rockwell, Keith Carradine, Abigail Spencer, Wyatt Russell

Originally published in August 2011

It’s like this. It’s always a one horse town, Absolution. If you love Westerns and Aliens films in the tradition of 3:10 to Yuma and all of Sergio Leone’s films like The Good, Bad and the Ugly, you will love Cowboys and Aliens, it’s a cross-genre mix without subtly and it has the star of the James Bond film franchise’s recent acquisition, Daniel Craig (Casino Royale) looking very out of place in a western. He has Harrison Ford (Star Wars) to assist him as the town sheriff. Harrison Ford, ex Solo is there to help against an awfully bizarre alien invasion in Arizona 1873. Together they battle the onslaught of an Alien invasions in outer far west.

There are lots of explosions, gunfights and alien invasions but it’s never without some form of retribution. Cowboys and Aliens is entertaining but hugely commercial film with loads of action sequences and lots of gunfights with hard-arsed cowboys and nefarious aliens that are clearly there to exploit the vulnerability of humans in an attempt  to control the Planet Earth even back in the 19th century in the outback of Arizona of all places.

See Cowboys and Aliens and don’t expect mental stimulation, but loads of popcorn fun. It’s a sleepy hit for the Northern Hemisphere summer season. Cowboys and Aliens also stars Paul Dano (There will be Blood), Sam Rockwell (Moon, Iron Man 2), Keith Carradine (Mrs Parker and the Vicious Circle) and Abigail Spencer (Oz, The Great and Powerful).

This is a cross over Sci Fi Western in the tradition of Yul Brynner’s 1973 film Westworld.

Get Smart

Director: Peter Segal

Cast: Steve Carrell, Anne Hathaway, Alan Arkin, Terry Crews, Terence Stamp

Review originally published in July 2008

After Anne Hathaway’s wonderful performances in Brokeback Mountain, The Devil Wears Prada and Becoming Jane, I was intrigued to discover her cast opposite comedian Steve Carrell (The 40Year Old Virgin) for the Spy adventure, Get Smart, a big screen adaptation of the 1960’s American comedy TV show.

Get Smart started off as quite an amusing film, more spoof than serious action, but what occurs is that the first half of the film, making excellent use of its initial stylish Moscow and Russian locations, fares better than the second half, set in a tired-seen-it-before downtown Los Angeles. With Mel Brooks famed for such classic comedies as To Be or Not to Be as an executive producer, I was expecting a comedy, however the joke in Get Smart starts running thin to such an extent that by the end of the film, it seems to be more on the audience who actually spent time and effort sitting through a two-hour movie, than on this half-hearted affair comprising of a mismatched pastiche of James Bond and Mission Impossible films, with scenes reminiscent of Octopussy and Entrapment combined with more high-octane car and plane chase sequences certainly suggestive of the Terminator movies.

Steve Carrell is a talented actor as noted in such independent films as Little Miss Sunshine, yet his particular style of comedy is confusing at times, sometimes serious, but capably funny. His lack of desire at playing the character completely straight or inanely goofy, gives the audience a mixed idea of Get Smart’s main protagonist Maxwell Smart, a desk-bound covert analyst who gets the opportunity to experience the long-anticipated thrills of dangerous espionage fieldwork.

Anne Hathaway, who makes the best of the material of this shallow spoof whose greatest flaw is not taking itself too seriously, seems almost lost as to how to play the super-efficient Agent 99, deadpan or with a comedic wit, leaving her floundering as the better half of a miscast screen couple. Either way she is left grappling for a more meaningful character, not to mention storyline, only to be left smirking on the sidelines, almost acknowledging herself that Get Smart falls short of the mark, which is clearly a waste for such a talented actress.

In the hands of a more astute director such as the brilliantly comic Blake Edwards, this film could have been a really witty sophisticated and stylish spy-drama in the vein of the classic Pink Panther movies, especially given the talents involved. Director, Peter Segal whose previous Adam Sandler movies, The Longest Yard and Anger Management, fails to pool the adequate acting resources and whilst there are too few genuinely hilarious moments in Get Smart, most notably the lavatory scene in the airplane and the sequences set in Russia, particularly Moscow, while the Hollywood finale leaves one wishing for a more substantial filmic experience.

Such great character actors like Alan Arkin and Terence Stamp are wasted in this poorly directed film, which could have been so much sharper than what it was aiming for. Get Smart saving grace is that it portrays Moscow as smarter than Hollywood, which inevitably is always worth a laugh.

The Hundred-Foot Journey

Director: Lasse Halstrom

Cast: Helen Mirren, Om Puri, Charlotte Le Bon, Manish Dayal, Clement Sibony, Amit Shar

Chocolat and The Cider House Rules Swedish director Lasse Hallstrom and scriptwriter Matthew Knight bring the charming and utterly delicious tale, The Hundred-Foot Journey based on the novel by Richard C. Morais to the big screen, a gorgeous film which traces the journey of an Indian family who move from Mumbai to London and then to the Continent.

The Kadam family after a near fatal accident on a French country road, the family headed by the incorrigible Papa played by Om Puri decide to set up roots in a small French town to start an Indian Restaurant and do what they do best – cook. The only problem is that a 100 feet away is a Michelin Star Nouvelle Cuisine restaurant headed by the strict and snobbish, Madame Mallory wonderfully played against type by Oscar Winner Helen Mirren (The Queen, The Madness of King George).

With a flourish the Maison Mumbai is opened in direct competition of this Michelin star restaurant which generates fierce culinary rivalry between the two establishments pointing to a much deeper prejudice about foreigners in Europe exemplified in the xenophobia displayed by Chef Jean-Pierre played by Clement Sibony (The Tourist). Inspired by his mother’s sea urchins, the young Hassan, an aspiring cook soon studies all the bibles of French cuisine and naturally is quite enchanted with the sous chef Maguerite played by French actress Charlotte Le Bon, hinting at a potential romance.

As the characters develop and the story unfolds, Madame Mallory soon entices the young chef Hassan played by Manish Dayal to come and work at the French Restaurant which with a liberal dash of exotic spices soon earns the Restaurant another Michelin star attracting all the Parisian culinary offers. Hassan travels to Paris where he works in a top Nouvelle Cuisine restaurant overlooking the Eiffel Tower creating exotic fusion combinations which soon earns him fame and respect. This is food porn on acid, with some luminous shots of many exotic dishes being prepared in sleek industrial Parisian kitchens, think Babette’s Feast for the 21^st century.

With the current trends of TV reality shows like Master Chef sweeping the Global, The Hundred-Foot Journey should definitely find a niche audience and points to a growing hybrid cinematic genre in the tradition of A Million Dollar Arm, The Best Exotic Marigold Hotel and Slumdog Millionaire of Hollywood films with a distinctly Indian influence, adding an exotic tinge to the Western dramas.

With producers Steven Spielberg and Oprah Winfrey, The Hundred-Foot Journey is as delightful as it is sumptuous to watch with glowing cinematography provided by Swede Linus Sandgren (American Hustle) with a narrative beautifully accentuated by a superb on screen chemistry between Madame Mallory and Papa complimented by the developing romance between the young lovers Hassan and Marguerite.

The Hundred-Foot Journey is recommended viewing for foodies, chefs, romantics and lovers of genteel cinema. This is a gorgeous spicy cinematic dish, served with all the necessary garnish and flavour to make it palatable and appreciated.

The Normal Heart

NB: This is a made for TV film

Director: Ryan Murphy

Cast: Mark Ruffalo, Matt Bomer, Julia Roberts, Stephen Spinella, Alfred Molina, Taylor Kitsch, Jim Parsons

HBO’s The Normal Heart directed by Glee and Eat, Pray, Love director Ryan Murphy is a startling and heart wrenching tale of the outbreak of AIDS in New York’s gay community in the early 1980’s. Mark Ruffalo plays a middle aged openly gay man, Ned Weeks who gives one of the best performances of his career as he becomes the outspoken champion of gay rights and one who urges the American government to do more to fight the stigmatisation of AIDS as it ravaged the homosexual community in the mid 1980’s.

This film is set at a similar time as Jean-Marc Vallee’s Dallas Buyers Club, but unlike this Oscar winning film, is a made for Television, bravely done by HBO featuring some exceptional performances besides Ruffalo that includes Matt Bomer as his lover, Felix Turner, a young, handsome New York society journalist dying of AIDS related illnesses along with Julia Roberts as Dr Emma Brockner a wheel-chaired bound no nonsense doctor who is adamant that the American gay community need to be sufficiently educated about this disease. She goes onto advocate that the New York gay community need to immediately curb their promiscuous lifestyle, so lavishly explored in the film’s opening scenes on Fire Island, in upstate New York, the gay resort famous in the 1980’s for White Parties, wild sex and unabashed homosexual hedonism.

Audiences watching The Normal Heart should be warned this is a sad, graphic and dramatic tale of a community ravaged by an illness which they were not equipped to handle, both physically and emotionally. Remember that this is set at least 30 years ago before all the medical advances in ARV treatment globally and when AIDS research was in its infancy. Without the sufficient funding from the American government, those that suffered at the forefront of the epidemic, was an already marginalized community known only for their lascivious and risky sexual behaviour.

What director Ryan Murphy does so brilliantly is remind the audience that despite all the stigma and the prejudice, these were real professional people dying of a yet unquantified illness with a virtually non-existent health care regime and support structure.

At the core of The Normal Heart based upon a play by Larry Kramer is the remarkable performance by Mark Ruffalo who certainly has proved his worth as a serious actor in recent years especially after his recent Oscar nomination for The Kids Are Alright.

The Normal Heart as a mainstream film, like Steven Soderbergh’s Behind the Candelabra would have a fairly limited appeal, but it is comforting that HBO takes a bold leading in making these films and even attracting such A list talent like Julia Roberts, Michael Douglas and Matt Damon.

Watch out for an unrecognizable Taylor Kitsch (Savages, Lone Survivor) as Bruce Niles a young, arrogant and gorgeous gay man who appears to be immune to all the community activism and terrible threat affecting his friends along with The Big Bang Theory’s Jim Parson’s in a brilliant and touching performance as Tommy Boatwright who counts the dead on his Rolladex.

This drama is brutal, heart wrenching and truly inspiring film making even if it only was made as a TV film, but really should be seen by everyone gay or straight especially in the wake of the recent commercialization of gay culture in Western mainstream media along with the associated rights and civil liberties which the gay and lesbian community have been granted in Europe and America recently, viewed within the 21^st century progress made in transforming HIV into a manageable disease through a strict regime of medication controls.

The Normal Heart is highly recommended viewing, boosted by superb performances all round which should go a long way in deconstructing the stigma surrounding marginalized communities especially at the outbreak of an initially incomprehensible disease.

Indiana Jones and The Kingdom of the Crystal Skull

Director Steven Spielberg

Cast: Harrison Ford, Shia LaBeouf, Cate Blanchett, John Hurt, Ray Winstone

(Review originally published in June 2008)

Almost twenty years on from the last Indiana Jones film, the fourth installment of Steven Spielberg and George Lucas original blockbuster trilogy, Indiana Jones and the Kingdom of the Crystal Skull had its world premiere at the Cannes film festival last month. The latest Indiana Jones marks the beginning of the so-called American Summer Movie Blockbuster season. Naturally many critics and viewers alike were dubious about the 65-year old Harrison Ford reprising his role as the adventurous globetrotting relic hunter and archaeologist. However, fans of the original three enormously successful films all centering on our whip-cracking hero in search of a mythical artifact at odds with a nefariously evil regime in close pursuit, while journeying to exotic locations around the globe, will not be disappointed with this latest installment.

Obviously, the creators both Lucas and Spielberg, the men behind such fantastic films as the Star Wars trilogy and War of the Worlds, are confident creators and know their territory well. Combining lots of fast-paced action sequences with some surprisingly consistent characterization and additions of new villains and side-kicks, along with some old-style drama, Indiana Jones and the Kingdom of the Crystal Skull is a skillful blending of several genres from the cowboy to the science fiction, while tapping into several imagined mythologies from the ancient Inca lost cultures of the Amazon to the urban myth of Hangar 51 and the Roswell incident, involving the American government’s secretive cover-up of an alien space craft that apparently crash landed in the New Mexican desert in 1947.

This film is set ten years on and firmly places the period of the action in the late 1950’s a time of the Red Scare, with McCarthyism sweeping America, a daunting decade when Communist infiltration was suspected in every aspect of American life. Into the mythology of the Roswell alien sighting at New Mexico and the lost city of El Dorado, an ancient Amazon city of Gold, which was believed to have existed at the Spanish conquest of South America in the early 1500’s, Spielberg and Lucas add the Stalinist era Soviets as Indiana’s arch enemies, headed by a blue-eyed sword wielding villain Dr Irina Spalko, an energetic performance by the Oscar winning Cate Blanchett (The Aviator).

In a rare genius of casting, Karen Allen reprises her role as Marion Ravenwood first seen in Raiders of the Lost Ark and the hot new Hollywood talent, Shia La Beouf stars as the spunky and wild Mudd, sporting a look reminiscent of the young Marlon Brando from his breakthrough film in The Wild One, kitted out in black leather cap and jacket skillfully riding a Harley Davidson and shattering the tranquility of an American town.

Even if you are new to the mythologies of Indiana Jones, this fourth installment is a great piece of entertainment in its own right, with thrilling action sequences, minimal CGI usage and a brilliant storyline tapping into several historical and imagined mythologies, while keeping a sense of humour and retaining a long espoused theory that many of the magnificent architectural wonders of ancient civilizations, from the pyramids of Egypt to the Amazonian Temples are tied into something vastly supernatural and way beyond anything we, as mere mortals, could possibly believe. Whether it’s the quest of infinite knowledge or that promised chalice of immortality, suspend your disbelief and take two hours to see this thrilling, fascinating and much anticipated sequel. Indiana Jones and the Kingdom of the Crystal Skull will surely not disappoint and has already proven its worth in international Box office gold.