Review: Indiana Jones & The Visitor

Whip it Good

So the wait is finally over. After nearly a twenty-year hiatus (nineteen, to be exact), Indiana Jones puts on the beaten fedora and takes out the whip for one last ride. At least we all assume it will be one last ride because we all know it should be. Indy could go on all of the adventures the world can offer but will still get closer to the point where he needs to hang up that whip for good. Still, his latest adventure proves to us that one last crack is enough for us to be entertained by his popcorn action adventures.

Directors Steven Spielberg and George Lucas return as collaborators on the fourth and final entry entry to the Indiana Jones saga (at least the final one starring Harrison Ford). Ford returns, of course, as the iconic hero. Now taken out of the 1940s time frame and battling the evil Nazis, who later became almost comedic foils by the end of the trilogy, Dr. Jones is in the fifties where the new enemies are the Russian communists. Cate Blanchett dons a brunette wig and hammy accent as Irina Spalko, an Eastern scientist who specializes in the paranormal. Also joining the crew are Ray Winstone as a flip flopping agent, John Hurt as an eccentric professor, rising star Shia LaBouef as Indy's new greasy sidekick with a twist of his own, and returning Karen Allen as Marion Ravenwood from the the first Indy adventure Raiders of the Lost Ark.

The plot details are worth much explanation. This is because the plot wants to become so out of the ordinary that I don't feel an explanation is the right thing to do. I have to admit, that even for an Indiana Jones movie, its dealings in the supernatural and even extra-terrestrial seem a little bit of a stretch. Granted, after twenty years one needs to reach a bit further, but the old school biblical explanations of the first and third entries were enough to carry those films. Still, there is a wonderful sense of adventure and excitement that runs through many scenes, even if they sometimes are overplayed.

Spielberg, on the other hand, seems like he's playing by the numbers in this film, and at times it lacks the stamina of the previous entries. All of the sets and action scenes are all reminiscent of the earlier entries and many don't try to reach beyond what the others did, except for the practical cinematography from Spielberg's recently used camera man Janusz Kaminski.

One of the few things that manages to put a smile on the face is the many references to the past films. When a series gets this old, it has no choice but to poke fun at itself, and when we get shots of the golden ark or hear conversations that refer to Denholm Elliot's Marcus Brody or Indy's father (while Connery refused to participate in the film, he does make a photographic appearance), a little recognition of a series that still has a little life is appreciated.

I still give credit to the filmmakers for attempting to breath freshness into the series, and it does work some of the time. However, major plot pieces, and an unsatisfactory ending does hinder the film. It certainly isn't the best in the series, which will always be held by the first entry, but at least we can say that it is better than Temple of Doom. *** / ****; GRADE: B.







Visiting Ours

The market for independent movies has substantially grown in the past few years. Many of them have become more complex than the custom silent, black and white student film into ones that try to tackle on pressing issues and important subjects. As much as this film tries desperately not to fall into the latest niche of indie movies, it ends up doing it. It's a terrible mistake coming from a film that had the potential to become a sweet story with its leading character playing wonderfully at the center.

The story follows well known character actor Richard Jenkins as a Connecticut college professor who must go out to New York to deliver a speech on an essay he's not particularly proud of. While he resurfaces in his long-ago apartment, he finds more than just moldy furniture. Inside are Tarek (Haaz Sleiman) and Zainab (Danai Gurria), two illegal immigrants that have fled to the United States and have taken refuge in his apartment. However, instead of panicking and worrying about the degradation of American jobs and enterprise, Jenkins's Walter invites them to stay. That's when we get a barrage of friendly scenes between the two that then allow Walter's character arch to develop.

After decades of being "that guy" in the movies, it's nice to see such a wonderfully underrated actor like Jenkins getting the chance to shine here. It's a predictable kind of a character, but Jenkins invests so much that he does make us care about every action that is going on in his life. Even when his changes in character can be seen clearly as they approach, we still enjoy watching them because of how much Jenkins puts into him. The rest of the cast works only so-so, playing off of Jenkins. The only other noticeable character is Tarek's mother, played by Hiam Abbass. She is subtle in her acting and never piles onto what could have been a hammy supporting role.

After making an impressive debut five years ago with The Station Agent, writer-director Thomas McCarthy does little here to make his film special. Every move he makes in this film are all predictable styles of previous independent filmmakers, and after a while it gets a little tiresome. One would wish that McCarthy would just try to feel out the story without letting that indie style of filmmaking take over for camera angles and predictable editing cuts. The only exception I find that breaks out of the indie world is the transcendent score from Oscar-winner Jan A.P. Kaczmarek, which has an indie feel to it but also recognizes that this film is also about bigger things.

Those bigger things, however, end up hurting it in the long run. McCarthy has turned the film into an overbearing political message about how America's post-9/11 policies on immigration are unjust and need to be fixed. I don't feel that's the right approach to this story, and after an obligatory shot of a freeway sign that protests: "Support our troops by bringing them home," it made me realize how liberally slanted this film was. By the end, it became less about a film that focused on a sincere, character driven story and more of a political message directed mainly towards Republicans. I wish McCarthy had enough faith in his story to let the characters develop the message themselves without piling it on in the script.

Everyone knows that this is Jenkins movie, and everyone will see it for him. I certainly did, and I'm glad I did so. He is the shining light of a film that wants to shroud itself in a political message. That is unfortunately a wrong choice. The story itself can be powerful, but it gets muddled in the socio-political setting. Hopefully Jenkins is enough to let this film provide a great time. *** / ****; GRADE: B.