CowboysGuy2824

When it comes to reviewing a movie like Indiana Jones and the Kingdom of the Crystal Skull, the hardest thing to do is to keep expectations intact and not expect a film that will blow Raiders of the Lost Ark out of the water. It has no chance to beat that expectation, and the film will ultimately become a failure with that mindset. You have to look at this film as another one of the sequels, which isn't a knock at the The Temple of Doom and The Last Crusade; on the contrary, they're great films, but this is the caliber you should expect from the fourth installment of a film that hasn't seen a new addition to the franchise since 1989.

With this in mind, does the fourth Indiana Jones film succeed? The answer? An incredibly enthusiastic yes! After 19 years away, Steven Spielberg, George Lucas, and Harrison Ford have recaptured that magic that has made the Indy trilogy so successful and added a worthy sequel that stands right in line with the two sequels. The little Indy quirks are here: the Paramount logo fading into a mountain-like object in the background, Jones's insane phobia of snakes, the flight paths on the background maps, and the numerous references to the first three films. However, and give George Lucas and screenwriter David Koepp a ton of credit for this, the film is not simply a tribute to the first three films, but an intriguing, fresh story that is unlike any of the other three. This isn't Rocky Balboa where we have the same general story but given a new spin on it. While some fans will be upset about the departure from the familiar, biblical territory the first ones covered, I found it to be great to see a new, original Indy flick instead of a rehashed homage to themes previously seen.

Spielberg seems to have found that pitch perfect balance between action, humor, and humanity that made Raiders so special. This isn't a flat out comedy like Last Crusade seemingly was, though there is still plenty of humorous moments in this film (surprisingly, very few jokes and gags actually fall flat). This isn't two hours of non-stop action, as the film does take its time to establish the plot, detail the archaeological quests, and let us remember why we fell in love with these characters in the first place. In fact, the scenes with Marion Ravenwood and Indy together are gold. Don't get me wrong; a lot of the action is a blast. The car chase scene in the jungle is a great piece of film-making, and the first scene with Mutt Williams and Indy leave a lasting impression. Great action doesn't have to come in newer, advanced looking CGI extravaganzas, as Spielberg proves that traditional action set pieces are still the most entertaining kind there is.

Now, about the cast. The star is aging, the sidekick is from Even Stevens, Karen Allen hasn't been in a big movie in God knows how many years, and, for some reason, people were worried about Cate Blanchett in here role. Well, let me put the concerns to rest: the entire cast is established pitch-perfect chemistry and everybody plays their parts incredibly well. Harrison Ford is, for the first time in a decade, having the time of his life and it shows in his excellent return to the famed American icon. It's no secret that he has been campaigning for this movie for years, and it shows in his strong performance. Karen Allen shares fantastic chemistry with both Shia LaBeouf and Ford, as she provides a lot of the necessary charm to the second act of the film. Blanchett uses a heavily over-the-top Russian accent, but she finds just the right note between creepy and intriguing to make her the best Indy villain since Belloq in Raiders. Ray Winstone does well enough in his role, as does John Hurt and Jim Broadbent.

The major surprise, however, is indeed Shia LaBeouf. For some strange reason, people actually thought this guy would be the Jar Jar Binks of the Indy series, and they couldn't be more wrong. Remember the outstanding chemistry between Sean Connery and Ford in The Last Crusade? The chemistry between LaBeouf and Ford rivals that. I've believe that he's been a very good actor for the past few years (and one of the few redeeming factors of Transformers). He does a great job in this film. The entire cast is good.

A strong story and great performances don't imply that this film isn't flawless. It isn't, but the flaws are few-and-far between and didn't hinder my overall enjoyment of the film. The first 20 minutes are somewhat slow; it takes a little while to get to Marshall College. These first twenty minute aren't necessarily boring; it is still entertaining, but it could have used probably 5 minutes of edits and pacing corrections. This is my biggest problem with the film, and once Indy returns to Marshall College, the film really kicks off and turns into the roller coaster ride that everyone has been hoping for.

So, as you can see, I dug the film. I may have even loved it (repeat viewings should ensure this). It is the Indy film that you've been waiting for since it was announced, and the creative trio have proved that, with the right care and intentions, you can bring an American icon back from the dead and still have him own the competition. Rip-offs like The DaVinci Code and the National Treasure series try to be like these films, but even the fourth installment of these wonderful franchise just towers over its impersonators. This film will go down as a very strong entry into the quartet and fall somewhere in the middle of the two sequels when all is said and done. The Indy film that you've been dreading? Not even close.

Indiana Jones is back.

Director Todd Phillips began his major filmmaking career with the teen hit ROAD TRIP, which is still one of the few teen sex comedies to be fairly respected, since it is one of the best ones of the new millenium. Even though filled with stereotypical characters (Sean William Scott's E.L. is exactly like American Pie's Stifler, Breckin Meyer is the regular straight man). Even so, the gross out effect wasn't at an ultimate high like today's Van Wilder and Slackers, but was similar to its role model film ANIMAL HOUSE.

Phillips second attempt rejoins him with producer/Ghostbuster director Ivan Reitman and the familiar territory of the college grounds( Like ROAD TRIP and his independent film FRAT HOUSE). This time around, three thirty-year-olds are the swingers. Usually, these type of films are easy money making schemes for film companies. Though anytime three very well known actors are put into the same film, you can make a good bet someone cares about the dying genre. Phillips certainly does, and he takes his ability to tell a good joke to new lengths in the hilarious new film OLD SCHOOL.

Luke Wilson (The Royal Tenenbaums, Charlie's Angels) is Mitch Martin, the typical straight man who recently broke up with his girlfriend Heidi, due to a weekly "gang bang" she has at their house when he is out on business. Not only did he lose the girl, but he also lost the house, forcing him to move into a house loacted on college campus. As a housewarming present, his friends Beanie (Vince Vaughn) and Frank (Will Ferrell) throw a party which changed the threes lives forever. The party inspires Beanie to open a fraternity (with people from eighteen to ninety years old) and Mitch will become the Godfather. The party also reintroduces Frank to his alter-ego (Frank the Tank) and addicted to alchohol for that moment on (resulting in a hilarious streaking incident).

The Dean of the college technically controls the house, and forces the fraternity to move out. This act of revenge (the Dean and the main three were high school friends) causes everyone to act against him until the main event occurs: the Fraternity tests.

Usually, any sex film released in the January to March slot is instant death from it. Look at 2002: Sorority Boys, Van Wilder, Slackers, and Crossroads were panned by the critics and audiences alike. Dreamworks must not feel very confident that the film will sell well, because its quality is in place. As a film of this genre, it rises as the best of the new millenium, surprising since it isn't a summer or winter release. Maybe the competition against GODS AND GENERALS is its best chance at success. Who knows? This film will no doubt be a success with the general audience, and the critics may very well give this film good ratings. Don't let the release date fool you.

OLD SCHOOL doesn't require top notch acting, nor a lead with the talent of Luke Wilson. He did a great job in the intelligent comedy THE ROYAL TENENBAUMS, but after watching his most recent, one will finally realize how much of a flexible actor he really is. Within one or two films time, he can go from serious to having a blast, but most impressively however, is how easily he makes it look. He doesn't try to overact a simple role, and with his excellent line delivery and well acted facial expressions, he plays the straight man very well.

Vince Vaughn is one of a few comedic actors I haven't had the pleasure of seeing in other films. Not that it is a huge deal, but a little regretful nevertheless. Within the first fifteen minutes of the film, mainly during Frank's wedding (his pleas are priceless), the audience gets the feeling he will be the big laugh getter of the film. Even though this reviewer is happy that he isn't the funniest part of the movie, there is no denying he is very good at making nearly any line funny.

And, without further ado, is the ex-Saturday Night Live star. Starring in bombs like The Ladies Man, A Night at the Roxbury, and Jay and Silent Bob Strike Back (the film itself bombed) and a hit with Zoolander, I always felt he was restricted to do what he does best: make people laugh. He never had a part overly hilarious or show stealing. May OLD SCHOOL be his first. Ferrell sure agreed to do a lot for his "Frank the Tank" character, and the risks sure payed off. Not only do we get the first of major laughs at the opening party, but his character is from beginning to end through the roof hilarious, especially during a scene with Seann William Scott as the owner of a powerful tranquilizer gun used for animals. The film should be seen for the fact is is just flat out entertaining, but two words should be enough to encourage another viewing: Will Ferrell. He is probably the most memorable character in these films since Stifler in American Pie.

OLD SCHOOL is no Best Picture film. Nor is it a highly intelligent or original film. Those descriptions don't make it stupid, and surprisingly, not gross out and not fill of toilet humor and dick and fart jokes. The previews may be decieveing, as it shows it looks to be a gross out film. There is only one scene involving any bodily humor. When these jokes are done right, they're funny. It's done right. The rest is all physical humor and good, funny dialogue.

Early word on this film has been very positive from a few critics and almost all of its main audience. It isn't necesarily a teen movie, since its main characters are thirty years old. The average age should be from college up, not the American Pie audience. The film is by far more intelligent than the average sex comedy, more witty, has better dialogue, and doesn't rely on the gross out affect. Great job by Phillips and co. for making one of the better raunchy comedies in a long time.

***1/2 out of ****