Here are my thoughts while watching this one again.
I've played in awesome campaigns that had great endings, but we were tempted to try playing the characters one more time. One was Shadowrun, and the other was Spwlljammer. In both cases, the new adventures did not go well, and we ended up feeling like we should have left well enough alone. I think that could be relevant here.
One can feel the influence of George Lucas strongly in the opening scene, with Elvis Presley's “Hound Dog” playing as a hot rod car speeds along the road. Along that line, this installment has a 50s science fiction feel, which can be fun, but is notably different from the 30s pursuit of holy relics and fight against the Nazis.
And then they nuke the fridge.
After that, during interrogation, Indy mentions that Mac was MI6 while Indy was in the O.S.S.; they undertook twenty or thirty missions together in Europe and the Pacific. That's some really cool world building, but we won't likely see what came of that.
That is followed by the implication that agents of J. Edgar Hoover's FBI don't trust old OSS operatives, and even suspect them of being communists! That is quite intriguing.
This movie tells us that Marcus Brody has passed away. I wonder what other characters from previous films, such as Willie Scott and Short Round, are doing now.
Mutt Williams has a great introduction. That is followed by some exposition, a soda fountain brawl, and an inspired motorcyle-and-car chase through the college campus.
Then there is more exposition, some research, and riddle. This is solid.
In Nazca, Indy tells Mutt that he learned Quechua while he rode with Panco Villa—a reference to The Young Indiana Jones Chronicles. That is good world building.
It's a touching scene when Mutt sees Ox's cell and thinks that Ox has gone mad; Indy puts his hand on Mutt's shoulder.
The graveyard scene is atmospheric and exciting, a good set piece.
Then we have some exposition after Indy and Mutt are captured. Indy is hooked up to psychic monitoring equipment and hears a message while staring into the crystal skull. If any players doubted the apparent change in style for the campaign, it should now be clear.
That is followed by a jungle chase and fight scene that is, in my mind, rather goofy. I can imagine the GM telling the players, after this session, “I let you get away with this stuff tonight, but I won't allow it in the future.”
The lost city of Akator makes for a cool area to explore, even if it really leans into the new style.
I like the wedding at the end; it is the kind of narrative conclusion that I can see happening at the table after a campaign finale.
Nice perspective. I love this movie. I think people trash it unjustly.
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