Although his tenure was brief, Timothy Dalton managed to reshape audience perceptions of what James Bond could offer. No longer was it slick suits and smart-thinking quips, it was genuine action that tried and vaguely succeeded to respond to the hyperviolence and machoism of the 1980s action genre. Where it was never going to compete with sci-fi classics like Predator and Aliens or the sickeningly good chills of Commando, there was always a hope that the new entry into the Bond series would breathe some life into a pun-riddled collection of disasters found in the previous outing, Roger Moore’s A View to a Kill. To drive forward with a new and ambitious lead was the necessary cut and change the series needed. Naturally, it didn’t last all that long when compared to other tenures of the British agent.
Biting off more than you can chew is common in filmmaking. We have seen and heard it all before. Those ambitious souls who wish to combine origin story with the representation of new characters, a punch down of a vehement group, all under the guise of adventure and family ties. Perhaps that is rather specific, but it is a wide enough collation of themes and ideas to raise an eyebrow or two. Indiana Jones and the Last Crusade should have more than a handful of problems, yet circumvents them with such intense devotion to its new characters, returning familiarities and the only role Harrison Ford has any passion left for. It seems he is putting that passion to good use.
An iconic, whip-swinging hero was born when Harrison Ford, fresh off the set of Empire Strikes Back, signed on for one of his many iconic roles. Raiders of the Lost Ark is an iconic classic of the blissful 1980s period. Generations above me hold nostalgia for the days they shared together, watching this on the big screen. No doubt my generation and those that will follow are waiting with bated breath to see how much of an impact the first of the Indiana Jones will have on their minds. Representing the Hollywood dream, a time when creatives could power through and offer up something truly incredible, Raiders of the Lost Ark is a milestone achievement. But there is something deeper, beyond its quips and catchphrases lies the real meaning and a presence of genuine danger.
Hindsight is a beautiful concept. The ability to look back on statements that you yourself have made in the past and laugh at how wrong or stupid you had been around five or six years ago. In my case, hindsight comes rather rapidly and extremely frequently, and in a review for Fuck You All: The Uwe Boll Story, I defended the director saying I had yet to see a truly terrible movie from him. I have now seen a truly terrible movie from German filmmaker Uwe Boll, and In the Name of the King is just that film.