Realização:
James MangoldCâmara:
Phedon PapamichaelMúsica:
John WilliamsElenco:
Harrison Ford, Phoebe Waller-Bridge, Mads Mikkelsen, Boyd Holbrook, Antonio Banderas, Toby Jones, John Rhys-Davies, Thomas Kretschmann (mais)Streaming (3)
Sinopses(1)
Estamos em 1969, e Indiana Jones está pronto para se aposentar. Tendo passado mais de uma década a ensinar no Hunter College de Nova Iorque, o conceituado professor de arqueologia prepara a retirada para o modesto apartamento onde vive sozinho. A situação muda quando recebe a visita surpresa da afilhada, Helena Shaw (Phoebe Waller-Bridge), em busca de um artefacto raro que o pai confiara a Indy anos antes - o infame Archimedes Dial, um instrumento que, supostamente, tem o poder de detectar fendas no tempo. Helena, uma vigarista de sucesso, rouba o mostrador e sai rapidamente do país com o objectivo de o vender a quem der mais. Sem alternativa, Indy sacode o pó ao chapéu e ao casaco de cabedal e prepara-se para uma última viagem. Entretanto, o antigo inimigo de Indy, Jürgen Voller, um antigo nazi que agora trabalha no programa espacial dos EUA, tem as suas próprias intenções para o mostrador, um plano sinistro capaz de mudar o curso da história. (NOS Lusomundo Audiovisuais)
(mais)Vídeos (9)
Críticas (15)
O elenco e o tema musical de John Williams agradam. Harrison Ford é rejuvenescido de uma forma excelente. A surpresa no final é mais aceitável do que o último disparate dos extraterrestres. Mas NÃO quero em Indiana Jones o digital omnipresente, em que até o tuk-tuk que percorre as ruas estreitas marroquinas não é real. Porque o conheço e adoro desde a primeira trilogia pela sua produção cinematográfica inventiva e autêntica. Esta forma rotineira, em que os realizadores não têm de ser criativos em termos cinematográficos porque a pós-produção de CGI faz tudo por eles, é o completo oposto da abordagem original de Spielberg. E o potencial de cada cena sofre com isso.
()
It’s fine that Disney is keeping old dads in mind, even though the mouse lost his shirt on this film. No, it’s not Logan with a whip. Mangold made a safe, old-fashioned movie along familiar lines that is already a bit long in the tooth in the action scenes and, hand on heart, is reminiscent of a conversation with an old man who’s telling you the same old war story for the five hundredth time, a sure sign of encroaching senility. The pace and gradation fall off after the fine first third and the film thus needs a defibrillator in the form of nostalgia, which fortunately comes so forcefully in the final minutes that the whip regains its crack. And no, I don’t mean that beautiful crisp metaphor of a person who lives from/in the past, but rather that tender scene of two people who are probably hurting all over. I can relate to that!
()
The last quarter of an hour is the only passage where some nostalgia works, and if I were the narrator, I would be much more uncompromising in my completion of Dr. Jones's life's journey. I would have found it much more emotional and logical (connoisseurs know). The rest is inconsistent to say the least. The opening with the train when there's palpable CGI rushing at you from all sides, is not enjoyable, it makes you remember with sadness the train opening of The Last Crusade, where Spielberg didn't need computers (understandably) and it worked much better. The tediously long chase in Tangier again, given the long takes, looks as if the local streets are empty of cars and people and as long as airport runways, I didn't believe it for a second. And that's how it is with everything. It's just such a see-and-forget feel-good movie most of the time, about on the level of the overwrought fourth film. Otherwise, the much-criticized Phoebe Waller-Bridge was fine, she has such a mischievous charisma and is a great counterpoint to the curmudgeonly Harrison Ford, and actually entertained me the most out of the whole film.
()
A worthy farewell. Maybe even a notch better than the fourth film. But definitely a movie that every fan of the genre should see in theaters. Indiana Jones is a legend, just like Harrison Ford. Filming a blockbuster like this at eighty deserves ultimate respect from all of us. Let's be honest, how many of us will even make it to that age and still be able to move around with such dignity? Here, Indy jumps from one action scene to another, each one exciting and engaging. The plot is captivating, with a simple yet thrilling adventure story. The action is digital-heavy and over-the-top, but it's exactly what you expect from this genre. My only worry is that with the end of this archaeological legend, the genre itself might fade away, especially considering how the fifth Indy is performing at the box office. But hey, I had a great time, and I'm sure I'm not the only one. This is exactly the kind of blockbuster I love.
()
I've had that famous John Williams tune playing in my head for about two hours now, and not because I enjoyed the fifth Indy so much, but rather because I'm in the mood to watch the first three episodes. I'll never watch the fifth one again, I'm almost certain of that. It’s not a completely bad movie, which could be said of the fourth, but it's just not “it”. The new Indy is carried by Harrison Ford and he's really trying his best, but he's just left on his own and he’s obstructed by everything else. The Fifth Indiana Jones film is visually bland and in some moments regularly repulsive, but mostly it has a boring story full of boring characters, and especially the bad guys are a bunch of uninteresting bums who are impossible to be scared of – Mads Mikkelsen is looking like he's about to start crying the whole time. Moreover, the treasure hunt itself leading up to the very weird (and slightly uglier) finale consists mostly of routine chases, because someone figured they couldn't have an 80-year-old Ford running around the set doing action shenanigans. James Mangold directs it all with no attempt at invention, and the result is at best a passable piece of craftsmanship somewhere on the level of National Treasure: Book of Secrets and a tiny bit above Uncharted, which is definitely not praise for this franchise. It lacks the style, the inventiveness and the evident joy that accompanied the first three films and, to some extent, the fourth. A product without soul.
()
Publicidade