In perhaps the all-time most significant fulfilling of cinematic expectations, Steven Spielberg and George Lucas successfully bring Indiana Jones back after a near 20-year hiatus, while Harrison Ford dispels any doubts than an older Indy is an ineffective Indy.
"Indiana Jones and the Kingdom of the Crystal Skull" is the perfect companion to the late-'50s serials that helped inspire the adventurous archaeologist. Some of the plot points may seem hokey at first, but if you can accept that the Ark of the Covenant and the Holy Grail have been past series focal points, you'll agree that there can be no better era-appropriate focus.
Ford is thoroughly convincing in reprising his most well-known character. There is no moment when you believe that he is incapable of fulfilling the attitude and, especially, the action requirements for the film and series. Each supporting character also receives appropriate development, additional signs that the saga is receiving proper care. Cate Blanchett continues her career consistency as an effective Russian baddie; Karen Allen shows why she's the most appealing "Jones Girl"; John Hurt flexes his talented range as modern-day conquistador; Ray Winstone, as Jones' tricky WWII buddy Mack, is interesting enough, but the weakest of the core characters; and Shia LaBeouf is a welcome addition as motorcycle-riding greaser Mutt Williams, Indy's best sidekick outside of Henry Jones Sr.
Since "The Lost World," Spielberg's films have employed a clean look, notably utilizing the advancements in cinematic technology perhaps better than anyone (outside of Lucas, the purveyor of such advancements). With the first glimpses at the reawakening of the "Indiana Jones" story, this polished appearance seems out of place compared to the previous beloved chapters' grainy, historic feel. But a step back reveals a hidden benefit to such a crisp style. The ahead-of-its-time cinematography may be somewhat inappropriate, but it helps accentuate the unintentionally-corny Cold War look that helped inspire the series' boyhood joys. The result is not quite to the no-budget simplicity of a "Plan 9 From Outer Space," but still reminiscent of a past era. Through this apparent consistency issue, the filmmakers are actually paying additional homage to their preteen loves and passing the technological savings on to us.
So, have no worries. The kings of filmmaking fun are back with their most appealing character to restore non-stop pleasure to multiplexes. You'll laugh, gasp, squirm, and smile, all the while convinced that you're back in (at least) the '80s.