Say NO to #4!!

I think they're beating a dead horse, in my opinion.

Why jeopardize the fantastic trilogy; especially when they ended on Indy searching for his most prized and priceless possession: his own father.

A story about a father and son is the root of almost every Spielberg film. Either the son has no father, the father returns, or the son finds a father figure he's long been yearning for. Such examples include A.I.: Artificial Intelligence, War of the Worlds, E.T., hell even Hook.

They ended The Indiana Jones Trilogy perfectly, in my opinion. I feel the story should have ended there. I will be very reluctant when this project comes to theaters. It will leave a nasty taste in my stomach watching a much-older and should-be-retired Harrison Ford running and jumping and cracking the old whip. What will be even worse is the fact that the rest of the audience will be thinking the same thing. People will go to the cinema out of sympathy and the lost hopes that this adventure will live up to the originals.



Ford doesn't look too bad for his age. But with Industrial Light & Magic at Spielberg's disposal, he can make a newborn baby look like Gandhi, and vice versa. I don't understand why they are bringing back Marion Ravenwood - none of the other "Indy girls" came back, so why ruin the recurring? I do believe Spielberg is obsessed with Shia LaBeouf and ever since Transformers, he has been trying to get the young lad into one of his films.

I want to see if Cate Blanchett signed on for this film just for fun, or if her role will actually have some meat to it. Ray Winstone has been gaining some momentum with parts in The Departed and Beowulf, but in this film, he looks like a possible slimeball, a lengthier rehashing of Alfred Molina's character in Raiders of The Lost Ark. Denholm Elliott is turning in his grave.

And where is Sallah??

--Predictions--

I believe the first action sequence, right at the start of the film, will be Indy infiltrating the nursing home where they have his dad. Fully-loaded bedpans will be boobytrapped along the floors, with diapers swinging on pulleys that he will have to evade. He will face a gauntlet, including changing the diapers of the residents, and dressing them by the names scribbled on the tags behind the neck.

There will be a wheelchair chase sequence through the halls. Walking canes will be used for sword duels and the beeps of heart monitors will unravel a secret code as to where the most cherished artifact, the golden Serenity diaper, is in safe keeping.

But luckily, Indy will escape, unbeknownst to him that his father was transferred to a home in Florida. Cue the wonderful red dot plane-travel sequence.
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I pray the hat and whip are not handed down to LaBeouf. I enjoy his versatility as an actor, but to put the fate of the continuation of these adventures in his hands sounds like celluloid suicide.

Is this what cinema is coming to? Rebirthing deceased successes in hopes of getting people off their couches, away from their 52-inch plasma screen televisions with a Dolby 5.1 surround sound hookup and push them into a theater with chain-smoking, coughing-up-a-lung ignoramuses, crying babies, and the constant tearing of snack-food wrappers.

Count me out.