The Departed

Year: 2006
Running time: 151 minutes
Certificate: 18
Language: English
Screenplay: William Monahan
Director: Martin Scorsese
Starring: Leonardo DiCaprio, Matt Damon, Jack Nicholson, Mark Wahlberg, Martin Sheen, Ray Winstone

Dave.

The cop who's a mole.

This may well be a first in the history of film - a Hollywood remake that holds its own against the foreign language original it's remaking. In fact, I might go so far as to say The Departed could probably be considered to be better than the outstanding Infernal Affairs. All it took was the pairing up of legends Martin Scorsese and Jack Nicholson (another film first, fact fans). Billy Costigan (DeCap) is a cop undercover in the mafia, led by head gangster Frank Costello (Nicholson). In a beautifully contrived juxtaposition, Colin Sullivan (Matt Damon) is a member of Frank's gang planted as a mole in the police force. It's one of those perfect set ups that simply requires you to light the blue touch paper and stand well back as the tension increases. Both the cops and the mafia get wise to the fact they've been infiltrated and set Billy the task of uncovering the criminal mole and Colin the task of finding the undercover cop. As you might imagine, it can't end well for anyone, and the escalating body count during the explosive conclusion is inevitable.

It won Scorsese his long sought-after Oscar (about damn time, you useless bunch of Academy shits), but as good as it is, it's certainly no Goodfellas, although it can definitely measure up against Casino. Let's face it, nothing's ever gonna be Goodfellas except Goodfellas and Scorsese almost at the top of his game is better than almost any other director out there.

The mole who's a cop.

The supporting cast are uniformly without crapness, with Martin Sheen, Ray Winstone and others putting in top performances. Hell, even Mark Walhberg is not only passable, but his foul-mouthed outbursts are a highlight. The two leads also do well - Billy trying not to crack under the pressure and desperate to get out and Colin wishing he could switch sides and not be working for Frank make for some of the most engaging scenes. As Scorsese's new muse, DeCap gets the biggest role and doesn't let the ball drop once - in the right role he is truly one of his generation's finest actors. However, none of that really matters, because it's big Jack who steals the show, just as one might expect. His mob boss is utterly without conscience, berating corpses for falling funny when he murders them, but he has a Nicholsonish bent to him that makes him great to watch, evilness notwithstanding. They increased the size of the mob boss role substantially compared to Infernal Affairs, and with big Jack in the role, it's one of the wisest things they could have done.

One of many great pieces of work from the master director, The Departed looks incredible, sounds fantastic (Gimme Shelter is the perfect song for the intro), and it moves with such pace before you know it two and a half hours have gone by and you're watching all hell break loose at the finale.

Score: 8/10

Rachel.

This is not for the faint-hearted, but extremely entertaining. It's fast-paced and violent with a brilliant soundtrack and sharp wit. Lots of great characters well-acted and, like Dave, Jack Nicholson was my favourite. Just to warn you though - look out for the shock-factor ending. Highly recommended.

Score: 7/10

Roger Ebert is a bigger fan even than me, while Josh at Cinemablend likes it except for the ending.

The Shawshank Redemption

Year: 1994
Running time: 142 minutes
Certificate: 15
Language: English
Screenplay: Frank Darabont
Director: Frank Darabont
Starring: Tim Robbins, Morgan Freeman, Bob Gunton, Clancy Brown

Dave.

A rare moment of peace at Shawshank prison.

My, oh my. One of a limited number of Stephen King adaptations that isn't complete pants, The Shawshank Redemption is a miracle and it's easy to see why it tops so many 'greatest films ever' lists, even though, like the similarly revered Fight Club, it was a flop at cinemas and found its audience on video. There's something magic about it that is impossible to recreate, even for director Frank Darabont, who tried with the massively over-rated The Green Mile. Andy Dufrense (Tim Robbins) is an innocent man sent to Shawshank prison for murder. Found guilty of killing his wife, Dufrense not only has to cope with the grief of a murdered wife, but has to find some way to survive a dreadful, hopeless hell on earth. Almost immediately, you are forced to the brink of tears as during Andy's first night one of the other new prisoners is beaten to death by the guards for simply being afraid.

We follow Andy as he tries to adjust to his new life of regular rape and constant abuse without the possibility of escape. Instead of being dragged down into the ugly existence many of the inmates lead, Andy's calm and unbreakable demeanor begin to partly uplift the lives of some of his fellow prisoners. When Dufrense risks his neck to secure a few beers for his new friends in the sunshine, his success is giddily euphoric. An accountant in his previous life, Andy uses his expertise to help the corrupt warden Norton (Bob Gunton) and guard captain Hadley (Clancy Brown) amass fraudulent fortunes, and in return, some of the more unbearable parts of prison life - the rapes, for example, - are stopped.

On and on the film pulls you, from horror to sorrow to happiness, increasing in intensity. The lowest point, when Andy's chance for freedom is ruined by murderous and corrupt officials is almost more than you can take, and when it appears as though he is considering ending his own life, you can truly understand why. The repeated phrase "Get busy living, or get busy dying" leads you to think Andy has chosen the latter.

And then, it happens. Everything turns around as you learn of Andy's escape and how he ruins the people who have kept him prisoner and murdered to serve their own greed. The moment warden Norton throws the stone at the poster and it flies right on through gives you such a sense of satisfaction, the effect is heady. Only when you have followed Andy to the brink of despair can you truly appreciate the joy of seeing him free.

Obviously, Tim Robbins is wonderful, putting in the performance of a lifetime, but it is Morgan Freeman as Red, the story's narrator and Andy's closest friend who stands out for me. The scene with the interview in which he is finally granted his release is without doubt one of the finest examples of acting I have ever seen. Unlike, say, Dustin Hoffman in Rain Man, there is no showboating, no grandstanding, only believability. In a single glance, or a slightly lifted eyebrow, Freeman somehow manages to convey to the viewer a lifetime of regret for one stupid act as a young man.

For some, the overly happy ending may be a little too much to swallow. For me, it was entirely necessary after what these two characters have gone through; after what they have made you feel.

This is one of the greatest prison dramas of all time, with only Papillon offering any potential competition.

Score: 9/10

Rachel.

Andy enjoys a short break in the sun.

What can I say? This is one of my all time favourite films. Superb acting and a gripping story of hope and unbreakable friendship; The Shawshank Redemption has it all. Along with some disturbing scenes of prison life, there is light-hearted humour and for the viewer a roller-coaster of emotions. The story is told in such a way that you forgive Red and the others for their crimes and feel overwhelming compassion for all that they go through. As Dave mentioned, I can understand why the ending could have been regarded as a bit over the top. However, I feel it gives a sense of much needed closure and if you're anything like me, a bit of a blubbery moment; oh for the blue of the Pacific Ocean!

Score: 9/10

The Shawshank Redemption is Bill's favourite film of all time (Bill is one of many), but Robbie at The Telegraph is slightly less fervent in his praise than either me, Rachel or Bill, suggesting it falls just short of greatness.

The Incredibles

Year: 2004

Running time: 115 minutes

Certificate: U

Language: English

Screenplay: Brad Bird

Director: Brad Bird

Starring (voices): Craig T. Nelson, Holly Hunter, Samuel L. Jackson, Jason Lee

Dave.

Bob quietly reflects while imprisoned by
Syndrome.

With every feature they make, Pixar prove that when it comes to making films that are bright, rich in story, gorgeous to look at and funny as hell, they have a pretty much unrivalled track record. The fact that the films are computer animated is irrelevant - as has been said before, animation is a technique, not a genre. Take The Incredibles, which is certainly not the best Pixar release. Superheroes the world over are forced to go into hiding when Robert Parr ('Mr. Incredible', voiced by Craig T. Nelson) is sued for saving the life of a suicide who didn't want to be saved, which in turn opens the floodgates for lawsuit upon lawsuit. Banned from 'hero work', he is forced into keeping his powers under wraps and raising his family with wife Helen (formerly 'Elastagirl', voiced by Holly Hunter). It's hard to decide whether the people at Pixar are all lunatics or geniuses. Probably a little of both.

You're never far from another beautifully rendered scene that will put your jaw on the floor, but this being Pixar, the shiny animation while undoubtedly without peer in its field, is simply the tip of the iceberg. The characters are, despite being secret superheroes, entirely believable, and the scenes of the Incredibles just being a family are suffused with a realism that will ring true with many people who are married with children. Even the minor characters are an absolute delight (in fact, tiny and crazy Edna Mode (voiced by director Brad Bird) is probably my favourite character, despite having only a small part), and the cast as a whole nail every comedic and dramatic beat.

"Showtime."

Covering a whole range of emotional states, there is comedy (see Sam Jackson's Lucius Best, formerly 'Frozone', arguing with his wife when she hides his supersuit) and there are moments that bring a lump to the throat (Bob, terrified at the idea of losing his family breaking down with an anguished cry of "I can't lose you!", then ducking his head, quietly stuttering "I'm not strong enough" is particularly affecting), but when the action kicks in, it truly hits its stride; certain scenes are breathless, and stand toe-to-toe with the best action cinema has to offer. Sheer brilliance.

So why only an 8? Sounds like a 9. It's an 8 because Pixar have set the bar so high, that something as fully rounded and technically accomplished as The Incredibles sits only in the middle of the pack, quality-wise. I'll probably run out of superlatives long before I finish reviewing all of Pixar's output.

Score: 8/10

Rachel.

Ah, Pixar. Thanks for providing another thoroughly entertaining couple of hours for adults and kids alike. The story puts a cool spin on the lives of comic book-style superheroes using their amazing trademark animation. I can't wait to share this funny and heart-warming film with my daughter Katie.

Score: 8/10

It seems others rate The Incredibles even more highly than me, if Stella at the BBC and Michelle at Future Movies are anything to go by.

Fight Club

Year: 1999
Running time: 139 minutes
Certificate: 18
Language: English
Screenplay: Jim Uhls
Director: David Fincher
Starring: Brad Pitt, Edward Norton, Helena Bohnam Carter, Meat Loaf

Dave.

Coming to terms with the idea that just maybe there is
more  to life than stuff.

I am Jack's sense of utter awe. Fight Club is an exceptional film, with a mind-blowing plot line. Every element of it screams inventiveness, from the perfectly pitched music (and sound, a brilliant example of which is the surround sound mix during a scene in which the camera swoops around the inner workings of a bomb, and the ticking and bleeping come from different places depending on the position of the camera), through the outstanding cast (even Meat Loaf, surprisingly), to the unexpected and original direction of David Fincher, an example of which is the inspired opening credits. Adapted from the novel by Chuck Palahniuk, it's a study of how frustrated, testosterone-fuelled men find a way to express their pent up aggression while being a vicious criticism of consumer culture. Despite being such a wonder, the film flopped embarrassingly on its release, and has since found its audience on DVD.

Ed Norton is a nobody, a drone who finds a cure for his insomnia in attending support groups for the terminally ill, even though he's not dying. Disturbed to find he's not the only tourist of the groups of the dying he meets Marla Singer (Helena Bohnam Carter) and is instantly repelled. His life is changed when he meets soap salesman Tyler Durden (a never better Brad Pitt) and the two start an underground club where men, tired of the endless daily grind of their working lives, pummel the crap out of each other so they can feel alive again. Durden is everything Norton secretly wishes he could be; not tied to a job, not chained by etiquette and sexually uninhibited, embarking upon an extreme sexual relationship with Marla ("I haven't been fucked like that since grade school" providing one of many controversially memorable lines).

Durden is an incredible creation, who while onscreen demands your attention as he is preaching to Norton about why his life is pathetic and why he doesn't need any of his home comforts, spouting lines such as "The things you own end up owning you" and imagining a future where "You are stalking elk through the damp canyon forests around the ruins of Rockefeller Centre." Much of what he says sounds rather sensible and you find yourself, like Norton, coming around to his way of thinking. Until he goes mental and starts 'Project Mayhem'. If, like me, you found yourself understanding a little of the anti-materialistic place Durden is coming from, what must be acknowledged is that something like 'Project Mayhem' is almost certainly the kind of thing that would result from a large group of people following Durden's 'teaching'. The plot development feels entirely organic, and is a little sobering for those nodding along at Durden's logic in the early scenes. An effective example of the 'wisdom' of Tyler Durden is the scene where he and Norton take a sales assistant to a parking lot and threaten to kill him. At the end of the ordeal, the poor soul is given a choice; start working towards realising his life's dream or be murdered. Though the method is strong, the shop assistant is no longer wasting his life, dreaming about what might have been. Talk about extreme therapy.

Then there is the moment. Oh, the moment. I'll never forget the first time I saw it unfold in front of my eyes. I won't tell you what I'm talking about, this blog's spoiler warning notwithstanding, because knowing it beforehand can genuinely ruin the film for you and rob you of an unforgettable realisation. When you see it you'll know, and then you'll understand.

Truly one of the greatest modern contributions to cinema, this still stands as Fincher's high water mark. Plus, the choice of Pixies' Where is My Mind? over the end credits is inspired.

Score: 9/10

Rachel.

Arguing over diseases.

Girls, if you watched Meet Joe Black wiping the drool from your lips whenever Brad Pitt was onscreen, you should watch this film. His brilliant portrayal of Tyler Durden is the ultimate proof that Pitt is not just a pretty face. In addition to Brad Pitt changing my perceptions of him as an actor, this was also my introduction to Ed Norton, who is the perfect choice for a ho-hum character who slowly loses his mind. The gasp-inducing shock ending blows other film twists (like The Sixth Sense) out the water.

If you haven't already seen Fight Club, stop reading this and go and watch it!

Score: 9/10

It seems others either strongly disagree, like Peter at the Guardian, or agree with reservations, like Adam at Empire. The people that seem to love it as much as me are, ironically considering it flopped originally, the audience.

Total Recall

Year: 1990
Running time: 113 minutes
Certificate: 18
Language: English
Screenplay: Ronald Shusett, Dan O'Bannon, Gary Goldman
Director: Paul Verhoeven
Starring: Arnold Schwarzenegger, Rachel Ticotin, Sharon Stone, Michael Ironside

Dave.

Mars:  Red, apparently.

Paul Verhoeven has made some truly awful films, such as Basic Instinct and Showgirls. He has however, also made some phenomenal ones, for example Robocop and Starship Troopers. Total Recall assuredly falls into the latter camp. Based on the short story We Can Remember It For You Wholesale by oft-filmed science fiction author Phillip K. Dick, we follow construction worker Douglas Quaid (Arnie) who decides to get an implanted memory of an adventure on Mars. The procedure uncovers a hidden identity buried in Quaid's subconscious ('Hauser'). Things get rather messy, plot-wise from then on, with Quaid taking on a mission to save the downtrodden mutants of Mars from radiation poisoning and evil corporate greed. Possibly.

At the time, Schwarzenegger was an unpopular choice for the cerebral sci-fi adaptation, and several changes were made to the original novel - for one, Quaid was originally an office drone not a construction worker, although, considering the big man's ridiculous physique, the reason for that change is obvious. On the surface, the fears of the anti-Arnie brigade appear fully justified, as at first glance this extreme-violence action romp lacks the intelligence of the average Dick adaptation (although other Dick themes, such as paranoia and the exploration of human identity are certainly present), and is filmed in a style that befits both Verhoeven and Schwarzenegger. Upon a closer look however, hidden depths can be found, and by the end we can't decide if it was all real or just a memory implant. The more I watch it, the more convinced I become that the whole thing happened in his head and was by design. The fact that it ends in a white light fade out suggests that it is all in his head, but it is never confirmed.

The film is full of little touches that stay with you, scenes such as Quaid pulling a huge red tracker out through his nose, the psychotic cab robot who commits hari-kari after not being paid, or the outstanding prosthetics. More memorable though is the big man's dry wit (a talent that is criminally ignored due to his distinct lack of acting skills) when delivering certain lines, particularly "Look who's talking" after being told by a disfigured mutant that he has a lot of nerve showing his face and "Consider that a divorce" after shooting his wife in the head.

With more depth than you may at first suspect, this is classic sci-fi done in Verhoeven's uniquely extreme style.

Score: 8/10

Rachel.

Quaid was reluctant to discuss marriage counselling.

A brilliant Saturday night film, this is classic Arnie at his best. As Dave has already mentioned, it has some great lines - my favourites being "See you at the party, Richter" and "Screw you!" as he drills into the double-crossing Benny (Mel Johnson Jr.). However, in my opinion, the film is most memorable for its distinctive special effects; explosive suffocation, Kuoto the mutant rebel leader and a prostitute with three breasts! I still think this kind of effects work, without the overuse of CGI (as is often the case in more recent films) adds a unique and, in some cases, more believable look.

Definitely worth a watch, although it's possible my high score is more a result of rose-tinted nostalgia than quality. And by the way Dave, I definitely think it was all real!

Score: 8/10

Vince at Qwipster agrees, but Janet at the New York Times would probably say I over-rate it a little.

Crank

Year: 2006
Running time: 88 minutes
Certificate: 18
Language: English
Screenplay: Mark Neveldine, Brian Taylor
Directors: Mark Neveldine, Brian Taylor
Starring: Jason Statham, Amy Smart

Dave.

You're doing it wrong.

There isn't really much to say about Crank other than 'oh dear'. It is a genuinely interesting premise - an assassin named Chev Chelios (Jason Statham) is poisoned by a rival and the only way to stay alive is to slow the poison by keeping his heart rate up and his adrenaline pumping. As a result he gets up to increasingly ridiculous things to keep the inevitable at bay. It's like Speed but in a human body. Unfortunately the execution is completely fluffed from the start and it looks like it was made on an even smaller budget that the modest one it was made on. It's further proof (in addition to the also terrible Transporter films) that Jason Statham has no business being an action hero and should have remained a cheeky cockney gangster. Obviously since Crank Statham has been relentlessly pursuing the goal of being the hardest action man in Hollywood and following his part in The Expendables may have finally achieved it, so although he'll always be Bacon (Lock, Stock and Two Smoking Barrels) and Turkish (Snatch) to me, credit is due.

Shagging to stay alive.

The only reasons it scored any points at all are for the lingering shots of his at-home girlfriend Eve (Amy Smart) in her lingerie (and yes, I know that is sexist and pervy but I'm struggling for nice things to say) and the stiffy joke half way through.

To sum up, Crank stank.

Score: 3/10

Rachel.

Crank is wank!

Score: 1/10

Erik at Cinemablend agrees, but Nick at Empire and I have a rare disagreement.

Indiana Jones

Year: 1981 (Raiders), 1984 (Doom), 1989 (Last Crusade), 2008 (Crystal Skull)
Running time: 115 minutes (Raiders), 118 minutes (Doom), 127 minutes (Last Crusade), 122 minutes (Crystal Skull)
Certificate: PG (Raiders), (Doom), (Last Crusade), 12 (Crystal Skull)
Language: English
Screenplay: Lawrence Kasdan (Raiders), Willard Huyck, Gloria Katz (Doom), Jeffrey Boam (Last Crusade), David Koepp (Crystal Skull)
Director: Steven Spielberg
Starring: Harrison Ford, Karen Allen, John Rhys-Davies, Denholm Elliot, Paul Freeman, Kate Capshaw, Ke Huy Quan (Jonathan Ke Quan), Amrish Puri, Sean Connery, Alison Doody, Julian Glover, River Phoenix, Shia LaBeouf, John Hurt, Jim Broadbent, Ray Winstone, Cate Blanchett

Dave.

"Snakes.  Why did it have to be snakes?"

Indiana Jones (Harrison Ford) is the ultimate everyman hero that everyone can love - at least as heroic and iconic as 007 or any comic book hero you care to mention, and without the geek-dom of Han Solo - this is a guy anyone can root for. Even Martin Riggs and John McClane lack the 'making it up as he goes' feeling that always makes Indy look out of his depth when in the thick of the action (which, of course, just makes him more appealing).

From the opening shot of Raiders and one of the best character introductions in cinema history, it's obvious that these films are special. Everything about the story - the mysticism surrounding the Ark of the Covenant, the comedy (the scene where Indy nonchalantly pulls his gun and shoots one of the bad guys is a genius gag born out of necessity, when tight budgets and dysentery among the cast and crew caused the lengthy fight sequence to be canned), Indy's relationship with Marion Ravenwood (Karen Allen, and the second of cinema's great entrances in one film), the love interest who could drink anyone under the table and surely one of the most deserving women to which the word 'spunky' was ever applied, and of course, those villainous Nazis. Obviously, assuming all Nazi soldiers were basically little Hitlers instead of individuals (so it's OK to extinguish their lives left, right and centre) is an appalling assumption to make, but this isn't about reality; it's a family action movie, things are supposed to be kept simple. The Nazis are the bad guys, Indy's the good guy. That's it.

Even after 30 years, the set pieces are utterly stunning (in particular that astonishing truck chase), proving that CGI is often not required at all. The music is also extremely special with John Williams working to the peak of his powers - Raiders March is one of the most recognisable pieces of music in film, and will always remain so.

Doom is very different in tone to Raiders, but still fabulous. This time, in his endless quest for fortune and glory, our heroic archaeologist (before Indiana Jones, surely that was a contradiction in terms?) is in India saving slave children and retrieving magic stones from the evil Thugee cult, being drawn into the murky world of human sacrifice along the way. At times it gets rather dark and nasty, but there is still room for comedy, usually in the shape of Short Round (Ke Huy Quan - the best child sidekick ever? Apart from maybe Hit Girl?) Supposedly, after much negotiation, the MPAA passed a new certificate just for Doom, the PG-13. Only Spielberg, the man who got Saving Private Ryan through the BBFC with a 15 certificate, could have accomplished something like this (a similar story declares the rating was invented for Gremlins, but as that movie was also Spielberg-backed, the point still stands). With the exception of the better ending (the mine cart chase and the cutting of the rope bridge versus 'shut your eyes and let God do all the work'), it's not as good as Raiders, but still excellent, packed with genius action set pieces and another stonking soundtrack.

Hero pose #24.

Last Crusade is very much a return to the lighter adventures of Indiana Jones, with Jones Sr. along for the ride this time. Sean Connery steals the film outright bringing both gravitas and more comedy to the franchise than ever before; particularly the joke about the father and son having slept with the same woman is brilliant comedy. Although the first two films had their share, the action here is just relentless, with Dr. Henry Jones Jr. and Sr. flying, riding, driving and swinging from one set piece to another in their quest for the Holy Grail. In the breathing spaces, time is also made for some wonderful moments between father and son.

The climax is the best of the franchise, with Indy having to face the ultimate questions of God and belief to save his father's life. Even now, when faced with a tough decision, repeating "The penitent man will pass" over and over in my head like a mantra serves to strengthen my resolve, and that's despite being a devout atheist. In the final moments, when Henry Sr. finally gets through to his son by calling him Indiana for the first time and Indy chooses his family over his fortune and glory it is a moment that packs as much of an emotional wallop as almost any moment in film you care to name. Last Crusade ties the series up very nicely. But, in the words of a certain British comedian, they wouldn't let it lie.

So, inevitably, we move to Indiana Jones and the Kingdom of the Crystal Skull. Well, nobody liked this much, did they? Universally panned on release, you only have to go as far as South Park and see the characters (child and adult) weeping over how Spielberg and Lucas raped our favourite hero in the worst possible way just to make a buck, to see just how derided it was. I found myself having a rather milder reaction to it, and must confess that although some elements didn't sit well with me, and it doesn't measure up to the original trilogy, I didn't think it was too bad. It was actually pretty good. Bear with me.

I find myself disagreeing entirely with the two main criticisms thrown at the film. The first is the unrealistic nature of the action, the 'no way would that work' type of thing. One example is the whole CG monkey Tarzan-esque scene, in which our mini Indy, Mutt (Shia LaBeouf) swings on conveniently placed vines to catch up to a high speed car chase in the jungle. Granted, the CG monkeys were terrible, but the vine-swinging? Completely in keeping with an Indy set piece. It's improbable yes, but let's compare with the original classic trilogy. The scene in Raiders when Indy is on the outside of a Nazi submarine about to dive - cut to the sub docking and our hero is fine. So, what, do we infer that he held his breath the whole way? Take Doom and the jump out of a plane in a lifeboat, onto the side of a mountain, off a cliff, into raging rapids. All that happens is the three of them get a bit wet. Or the cutting of the rope bridge. Or the mine cart chase. Just as unlikely, maybe more so. Part of watching Indiana Jones is to take these impossible feats for granted. A second example of this, and the most vehemently complained about, is the nuking of the fridge. Indeed, 'nuking the fridge' has become a filmic equivalent of 'jumping the shark' in some circles. Look, everybody knows it's impossible to survive a nuclear blast inside a lead-lined fridge. Those that complain about this are missing the point entirely. It's just about the best joke in the entire Indy franchise - alluding to all the ridiculous 'duck and cover' guidance in the fifties. Let's face it, you've probably got more chance of surviving in the fridge than you do in a ditch or under a table.

Out of the frying pan...

The second big problem people have is the central story idea. Aliens? In Indiana Jones? Let's forget for a moment that an Indy script idea that has been doing the rounds for years is about 'the saucer people'. Let's consider what the reason might have been for them going with this idea. The original trio were all set in the 30s, and go to some lengths to recreate the feeling of the classic adventure serials from then. Crystal Skull is set in the 50s. A very different world. Filmed through specific filters to give it a 50s look. By the 50s, what had replaced adventure serials as the most popular form of entertainment for young 'uns? Yep; UFOs and B-movies. That's the reason for the look and that's the reason for the aliens (or the inter-dimensional beings, whatever).

Don't get me wrong, despite me disagreeing with the two biggest criticisms, there are things I don't like about it. The ending is naff, and reminded me uncomfortably of The Mummy Returns. The worst thing is that there is way too much CGI used. Remember the truck chase in Raiders? One of the reasons it's better than any of the Crystal Skull set pieces is that is was all real - it was full of stuntmen doing stunts, dust and dirt. This gave it a personality the clinical Crystal Skull just doesn't have. Too many of the moments in Crystal Skull that should have been classic Indy looked clean and unreal - you could tell where the blue screen was. It's not quite enough to make me hate it like so many others though.

Score:
Indiana Jones and the Raiders of the Lost Ark: 9/10
Indiana Jones and the Temple of Doom: 8/10
Indiana Jones and the Last Crusade: 9/10
Indiana Jones and the Kingdom of the Crystal Skull: 6/10

Rachel.

It's hard to review these films without a certain amount of nostalgic bias. As an 80s child, the Indiana Jones films were staples along with The Goonies and Labyrinth. They can still captivate me like they did back then. They have a classic mix of lovable hero versus the slightly goofy bad guys and the all-important mystery - childhood bliss! The fact that they are all a bit predictable and slightly cheesy only adds to their charm as far as I'm concerned and is one reason why they were so attractive to me as a wee sprog. Even as an adult, I can get swept up in the adventure and the magic of the Indiana Jones films - they never seem to go out of style. True classics.

Indy in trouble again.

As for the fourth one, I, like Dave, did not think this was a disgrace to the Indy name and actually quite enjoyed it. Obviously it didn't meet the standards set by the first three, but I thought Indy as a character was true to form and loved the idea of him coming to terms with getting older and the physical limitations it comes with. This is compounded by the addition to the cast of Mutt, Indy's son, at the peak of his physical prowess. The films also had some of the action sequences and humour typical of the brand.

Having said that, I do think the ending was a little disappointing and not very well thought out. It also overuses CGI, which I always think has the opposite of the intended effect, making things look completely unreal.

Overall, I think I would probably rate Crystal Skull lower if it was a standalone film, but given the fact that the character and style are well established and for the sake of nostalgia, I would say it met my expectations.

Score:
Indiana Jones and the Raiders of the Lost Ark: 8/10
Indiana Jones and the Temple of Doom: 9/10
Indiana Jones and the Last Crusade: 9/10
Indiana Jones and the Kingdom of the Crystal Skull: 6/10

It would seem others share my thoughts on Raiders, Doom, Last Crusade & Crystal Skull.