100
San Francisco Chronicle by Mick LaSalle
It's a beautiful machine, thought out and revved up to the last detail, with no other purpose but to delight - and it delights. [24 May 1989, Daily Notebook, p.E1]
Indiana Jones and the Last Crusade
Critic Rating
(read reviews)User Rating
- Italy,
- Jordan,
- Spain
- 1989
- · 127m
Director
Steven Spielberg
Cast
Harrison Ford,
Sean Connery,
Denholm Elliott,
Alison Doody,
John Rhys-Davies,
Julian Glover
Genre
Action,
Adventure
Legendary archeologist learns that his father, a medieval historian, has disappeared while searching for the Holy Grail. He sets out to rescue his father by following clues in the old man's notebook, but Indy isn't the only one on the trail, and some sinister old enemies soon come out of the woodwork.
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What are critics saying?
90
Variety
The Harrison Ford-Sean Connery father-and-son team gives Last Crusade unexpected emotional depth, reminding us that real film magic is not in special effects.
90
The New York Times by Caryn James
Though it cannot regain the brash originality of ''Raiders of the Lost Ark,'' in its own way 'The Last Crusade' is nearly as good, matching its audience's wildest hopes.
90
Variety by Staff (Not Credited)
The Harrison Ford-Sean Connery father-and-son team gives Last Crusade unexpected emotional depth, reminding us that real film magic is not in special effects.
88
Chicago Sun-Times by Roger Ebert
It is just as well that Last Crusade will indeed be Indy's last film. It would be too sad to see the series grow old and thin, like the James Bond movies.
88
USA Today by Mike Clark
The relaxed and confident Crusade is the first Jones outing to benefit from actual characterizations. [24 May 1989, Life, p.1D]
80
Washington Post by Desson Thomson
Start lining up now, bring a bullwhip -- and maybe some d-Con. Indiana will do the rest.
75
Chicago Tribune by Dave Kehr
Fully up to, as well as virtually indistinguishable from, its predecessors… The guarantee of Indiana Jones is that the pace never varies and the tone never changes; when you've had enough, you can feel free to leave. [24 May 1989, Tempo, p.1]
75
Christian Science Monitor by David Sterritt
Also predictable is the film's simplistic treatment of themes from religion and myth… It's curious that Spielberg and Lucas see these venerated objects not as symbols of divine inspiration but as repositories of a blind, undiscriminating force that can be wielded (like the three wishes from a genie or a magic lamp) by whoever gets their hands on them. [13 June 1989, Arts, p.11]
60
Los Angeles Times by Sheila Benson
You can't roll monstrous boulders straight at audiences any more and have a whole theater-full duck and gasp with fright--and pleasure. We may be plumb gasped out. And although Harrison Ford is still in top form and the movie is truly fun in patches, it's a genre on the wane. [24 May 1989, Calendar, p.6-1]
60
The New Republic by Stanley Kauffmann
More amusing than exciting. [19 June 1989, p.28]
50
The New Yorker by Pauline Kael
The action simply doesn't have the exhilarating, leaping precision that Spielberg gave us in the past... The joyous sureness is missing. [12 June 1989]
40
Washington Post
The first of Spielberg's films to make us feel heavy in our seats, the first to leave us sitting, passive and uninvolved, on the outside. Watching it, you feel that nearly anyone could have directed it.
20
Chicago Reader by Jonathan Rosenbaum
Mechanical, soulless.
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