Indiana Jones and the Temple of Doom

Not rated yet!
Director
Steven Spielberg
Runtime
1 h 58 min
Release Date
23 May 1984
Genres
Adventure, Action
Overview
After arriving in India, Indiana Jones is asked by a desperate village to find a mystical stone. He agrees – and stumbles upon a secret cult plotting a terrible plan in the catacombs of an ancient palace.
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  • The Man Behind the Curtain seeks a sex change for Indy:
    Ready Player One director Steven Spielberg says it’s time for a woman to play Indiana Jones. The director says he knows putting a woman in the lead role of an Indiana Jones movie would upset fans, but believes it's time the explorer 'took a different form'.
    A woman? Or a girl? No doubt Mr. Spielberg would find it very amusing to make Indy an 10-year-old girl. A promiscuous 10-year-old girl coming on to an older man. Perhaps he could be an older man who just happens to make movies starring lots of children.

    After all, it wouldn't be interesting if she was 16 or 17, right, Stephen?

    Labels: ,

    ...
    (Review Source)

Steve Sailer
Taki Mag



(Reviewers' Site/Bio)

  • Twilight Hit for the Same Reasons Knight and Day Flopped
    (”Indiana Jones and the Temple of Doom” is briefly mentioned in this.)
    Believe it or not, it’s worth comparing a current box office smash—The Twilight Saga: Eclipse, a Mormon teen vampire romance—to a dud—Knight and Day, an expensive Cameron Diaz-Tom Cruise thriller parody. Knight and Day is expertly made and consistently entertaining, while the Twilight episode is talky and amateurish. Yet, the public’s preference makes sense, because Eclipse’s bizarre ambitions and common passions makes it more memorable than Knight and Day‘s facile technique. Both movies revolve around a young woman’s struggle to choose the man who will protect her in a savage world. Eclipse is the adaptation of the third of Mormon housewife Stephenie Meyer’s Twilight novels, the biggest bestsellers since J.K. Rowling’s Harry Potter. Bella (pretty Kristen Stewart from last year’s Adventureland) is a human schoolgirl whose (follow me closely here) especially tasty-smelling blood drives vampires wild with bloodlust. Her lively scent has won the heart of the undead Edward (tween heartthrob Robert Pattinson), a gentlemanly vampire who strives manfully to keep his lusts under control. When a less civilized vampire army from Seattle comes hunting for her, however, the icy Edward realizes that he must ask for help in protecting Bella from his warm-blooded rival for her heart, Jacob, a weightlifting American Indian werewolf. I realize that this previous paragraph will likely strike you either as old news (if you are a 9 to 17-year-old girl) or as gibberish (if you aren’t). And I must admit to being baffled for long stretches of Eclipse. A weaker novelist than Rowling, Meyer less understands the adolescent girl’s mind than shares it. Her Bella epitomizes teen self-obsession, the ambition to have every boy fight over you and every girl hate you for it. Unlike Harry Potter’s world, which is so crisply-imagined that it’s a little limiting as metaphor, Meyer’s hazy imagination created a vampire cosmos where everything can symbolize anything. Sex, death, growing up, marriage, religion, race, family, whatever interests you, it will fit into Twilight’s cloudy cosmos. “Female moviegoers don’t seem to care as much as males do about empowered heroines.” For years, everybody thought Tom Cruise was the world’s greatest guy. Then, he nepotistically replaced his pit bull publicist Pat Kingsley with his sister. Soon, the hypomanic Scientologist was universally despised. Nonetheless, no other star’s films are as consistently quick-witted. Of his last ten films, only Lions and Lambs was bad, while Minority Report and Mission Impossible: III were excellent. Cruise’s track record at picking scripts is so good that you might wonder if he’s indeed getting good career advice down at the Scientology Celebrity Centre International, at least until you ponder the screenplay choices of fellow cultist John Travolta. It’s hard to market a movie in which Tom Cruise turns out to be the object rather than the subject. In Knight and Day, an expertly made and consistently entertaining soufflé of an action comedy, Diaz’s ditsy blonde has to decide whether Cruise’s character, an intensely competent and unflappably upbeat Eagle Scout turned master spy, is a terrorist maniac (like his ex-colleagues at CIA claim) or the man of her dreams, or both. If only, during their preposterously lethal globe-spanning chase, he wouldn’t keep asking her to help him out in the countless fights. Contrary to all the butt-kicking babe movies, such as, say, Charlie’s Angels (which starred Diaz as one of the three martial arts mistresses), in Knight and Day it turns out that 110-pound blondes don’t make good unstoppable killing machines. Diaz mostly winds up shrieking comically. Granted, no genre is more ripe for parody. Today’s butt-kicking babe films are particularly odd because current audiences also prefer girlier leading ladies than back in the Golden Age of such formidable femme fatales as Joan Crawford, Barbara Stanwyck, Marlene Dietrich, and Katherine Hepburn. Still, the public apparently doesn’t like to see its taste in movies spoofed. The tepid reaction to Knight and Day is reminiscent of the complaints about Kate Capshaw’s performance in Indiana Jones and Temple of Doom as a nightclub singer whose only contribution to the roaring action is to squeal. I can’t recall how many nerdy guys complained to me that Capshaw was a poor feminist role model compared to Karen Allen, who beat up bad guys in Raiders of the Lost Ark. All the fanboys hated Capshaw (although her director, Steven Spielberg, married her). Female moviegoers, in contrast, don’t seem to care as much as males do about empowered heroines. In Eclipse’s funniest scene, Bella is livid after beefcake Jacob tries to kiss her, even though Jacob knows perfectly well that she loves Edward. So, like an Angelina Jolie heroine, Bella hauls back and socks Jacob on his square jaw. Jacob, whose neck is wider than his head, doesn’t even flinch, but Bella sprains her own wrist, leaving her whimpering in pain. But that’s okay because everybody is soon fighting over Bella again, which she likes more than fighting herself. googletag.cmd.push(function() {googletag.display('div-gpt-ad-1456852648633-0');}); if(display_ads_server){document.write('');}; SIGN UPDaily updates with TM’s latest // delete this script tag and use a "div.mce_inline_error{ XXX !important}" selector // or fill this in and it will be inlined when errors are generated var mc_custom_error_style = ''; var fnames = new Array();var ftypes = new Array();fnames[0]='EMAIL';ftypes[0]='email';fnames[1]='FNAME';ftypes[1]='text';fnames[2]='LNAME';ftypes[2]='text';var err_style = ''; try{ err_style = mc_custom_error_style; } catch(e){ err_style = 'margin: 1em 0 0 0; padding: 1em 0.5em 0.5em 0.5em; background: ERROR_BGCOLOR none repeat scroll 0% 0%; font-weight: bold; float: left; z-index: 1; width: 80%; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial; color: ERROR_COLOR;'; } var mce_jQuery = jQuery.noConflict(); mce_jQuery(document).ready( function($) { var options = { errorClass: 'mce_inline_error', errorElement: 'div', errorStyle: err_style, onkeyup: function(){}, onfocusout:function(){}, onblur:function(){} }; var mce_validator = mce_jQuery("#mc-embedded-subscribe-form").validate(options); options = { url: 'http://takimag.us1.list-manage1.com/subscribe/post-json?u=0ba7696a8a378946b7e688500&id=f7706afea2&c=?', type: 'GET', dataType: 'json', contentType: "application/json; charset=utf-8", beforeSubmit: function(){ mce_jQuery('#mce_tmp_error_msg').remove(); mce_jQuery('.datefield','#mc_embed_signup').each( function(){ var txt = 'filled'; var fields = new Array(); var i = 0; mce_jQuery(':text', this).each( function(){ fields[i] = this; i++; }); mce_jQuery(':hidden', this).each( function(){ if ( fields[0].value=='MM' && fields[1].value=='DD' && fields[2].value=='YYYY' ){ this.value = ''; } else if ( fields[0].value=='' && fields[1].value=='' && fields[2].value=='' ){ this.value = ''; } else { this.value = fields[0].value+'/'+fields[1].value+'/'+fields[2].value; } }); }); return mce_validator.form(); }, success: mce_success_cb }; mce_jQuery('#mc-embedded-subscribe-form').ajaxForm(options); }); function mce_success_cb(resp){ mce_jQuery('#mce-success-response').hide(); mce_jQuery('#mce-error-response').hide(); if (resp.result=="success"){ mce_jQuery('#mce-'+resp.result+'-response').show(); mce_jQuery('#mce-'+resp.result+'-response').html(resp.msg); mce_jQuery('#mc-embedded-subscribe-form').each(function(){ this.reset(); }); } else { var index = -1; var msg; try { var parts = resp.msg.split(' - ',2); if (parts[1]==undefined){ msg = resp.msg; } else { i = parseInt(parts[0]); if (i.toString() == parts[0]){ index = parts[0]; msg = parts[1]; } else { index = -1; msg = resp.msg; } } } catch(e){ index = -1; msg = resp.msg; } try{ if (index== -1){ mce_jQuery('#mce-'+resp.result+'-response').show(); mce_jQuery('#mce-'+resp.result+'-response').html(msg); } else { err_id = 'mce_tmp_error_msg'; html = '
    '+msg+''; var input_id = '#mc_embed_signup'; var f = mce_jQuery(input_id); if (ftypes[index]=='address'){ input_id = '#mce-'+fnames[index]+'-addr1'; f = mce_jQuery(input_id).parent().parent().get(0); } else if (ftypes[index]=='date'){ input_id = '#mce-'+fnames[index]+'-month'; f = mce_jQuery(input_id).parent().parent().get(0); } else { input_id = '#mce-'+fnames[index]; f = mce_jQuery().parent(input_id).get(0); } if (f){ mce_jQuery(f).append(html); mce_jQuery(input_id).focus(); } else { mce_jQuery('#mce-'+resp.result+'-response').show(); mce_jQuery('#mce-'+resp.result+'-response').html(msg); } } } catch(e){ mce_jQuery('#mce-'+resp.result+'-response').show(); mce_jQuery('#mce-'+resp.result+'-response').html(msg); } } } ]]>
    ...
    (Review Source)

PJ Media Staff
PJ Media



(Reviewers' Site/Bio)

  • Radical Celluloid Chic: Easy Riders, Raging Bulls now on the Kindle
    (”Indiana Jones and the Temple of Doom” is briefly mentioned in this.)
    Lifestyle  The death on Monday of Bert Schneider, the man who, along with his business partner Bob Rafelson, brought you both the Monkees and Easy Rider, brings to a close one chapter in the life and death of New Hollywood. As Mark Steyn wrote on Wednesday:Bert Schneider was an obscure figure by the time of his death, but back in "New Hollywood" - that interlude between the end of the studio system and the dawn of the Jaws/Star Wars era - he was briefly a significant figure. He started in TV in the mid-Sixties, helped create "The Monkees" and then took them to the big screen in the feature film Head. That flopped, but the next film he produced, Easy Rider, cost less than 400 grand and within three years had made $60 million. There followed Five Easy Pieces and The Last Picture Show.But, as much as I like the latter, I prefer to remember the late Mr Schneider for his contribution to the gaiety of 1970s Oscar nights. Truly, that was the golden age of Academy Awards ceremonies. On April 8th 1975, Bert Schneider's film Hearts And Minds won the Oscar for Best Documentary. Instead of an acceptance speech, he read out a telegram conveying fraternal greetings to the American people from Dinh Ba Thi of the Vietnamese Provisional Revolutionary Government. Offstage, Bob Hope was mad, and scribbled some lines for his co-host Frank Sinatra. So Frank came out and said that the Academy wished to disassociate itself from the preceding. Then a furious Shirley MacLaine yelled at Frank that she was a member of the Academy and no one had asked her if she wanted to disassociate herself from the Vietnamese Provisional Revolutionary Government. Then John Wayne said aw, the Schneider guy was a pain in the ass.The rise of New Hollywood is a story that’s been told countless times, but one of the very best tellings is Peter Biskind’s Easy Riders, Raging Bulls, originally published in 1998, but finally released in a Kindle version this week -- entirely coincidentally, the day after Bert Schneider died. Biskind managed to interview many of the original players, and wrote a compelling narrative of the collapse of postwar Hollywood and the retirement of the last of the great moguls who built the industry, and the rise of the young turks who would be, for a time, their successors. And then their own usurpation, both through drug and alcohol-induced dissipation, and because Hollywood executives, with a little help from Steven Spielberg and George Lucas, rediscovered how to connect with mass audiences.By the late 1960s, the Hollywood studio system was in ruins. There were multiple reasons -- Michael Medved has blamed the demise of Hollywood's self-enforced production code and its replacement with the G/PG/R/X rating system as alienating a big chunk of traditional moviegoers in the late 1960s. Concurrently, the urban “youth” market of the 1960s felt alienated by an industry still churning out formula clones of the last big film by “Old Hollywood,” The Sound of Music. The failure of so many of those films that came in its wake, including Dr. Doolittle, Hello Dolly, Star and other expensive, out of control musicals and family-oriented movies, nearly drove 20th Century Fox to financial ruin, and ultimately caused the once-mighty MGM to effectively close up shop as a functioning studio. var dataLayer = window.dataLayer = window.dataLayer || []; dataLayer.push({ 'videoName': '', 'videoType': 'Curated' }); During the late 1960s, age had caught up with the industry as well. In an era whose slogan amongst the left was “Don’t trust anyone over 30,” most Hollywood crews were manned by people double that age, who had broken in around the time of World War II or immediately afterwards, and weren’t planning to leave anytime soon. As Steven Spielberg told Biskind:"It was not like the older generation volunteered the baton,” says Spielberg. “The younger generation had to wrest it away from them. There was a great deal of prejudice if you were a kid and ambitious. When I made my first professional TV show, Night Gallery, I had everybody on the set against me. The average age of the crew was sixty years old. When they saw me walk on the stage, looking younger than I really was, like a baby, everybody turned their backs on me, just walked away. I got the sense that I represented this threat to everyone’s job.”Ultimately he was -- including many of the young turks in Biskind's book, ironically enough. But prior to Spielberg's rise as an industry unto himself, as Biskind tells it in Easy Riders, there were two milestones in the birth of New Hollywood in the late 1960s. The first was Bonnie & Clyde, the second was Easy Rider. As leftwing author Rick Perstein told Reason magazine in 2008 while promoting his then-recent book Nixonland:My theory is that Bonnie and Clyde was the most important text of the New Left, much more important than anything written by Paul Goodman or C. Wright Mills or Regis Debray. It made an argument about vitality and virtue vs. staidness and morality that was completely new, that resonated with young people in a way that made no sense to old people. Just the idea that the outlaws were the good guys and the bourgeois householders were the bad guys—you cannot underestimate how strange and fresh that was.But along with Bonnie & Clyde's subversive script (written by Robert Benton and David Newman, who got their start at Esquire magazine, then at the peak of its journalistic style and influence), at least the film had a known-star in Warren Beatty, a ravishing looking Faye Dunaway, whose career was still in its ascendency, and a veteran director in Arthur Penn. class="pages"> https://pjmedia.com/lifestyle/2011/12/15/easy-riders-raging-bulls/ previous Page 1 of 3 next   ]]>
    ...
    (Review Source)

Christian Toto
Hollywood In Toto



(Reviewers' Site/Bio)

  • 6 Reasons ‘Temple of Doom’ Is the 2nd Best Indy Film
    6 Reasons ‘Temple of Doom’ Is the 2nd Best Indy Film

    No sane soul doubts which Indiana Jones movie is the best (so far).

    “Raiders of the Lost Ark,” an homage to classic film serials, is a near-perfect movie. Action. Adventure.

    The post 6 Reasons ‘Temple of Doom’ Is the 2nd Best Indy Film appeared first on Hollywood in Toto.

    ...
    (Review Source)

The Federalist Staff
The Federalist



(Reviewers' Site/Bio)

  • The Music In 'Uncharted' Reflects An America Afraid Of Itself
    The Music In ‘Uncharted’ Reflects An America Afraid Of Itself Just contrast the theme music for ‘Uncharted’s’ Nick Drake with the theme music for Indiana Jones. May 16, 2016 By Christopher Badeaux Full disclosure: I can watch every Indiana Jones movie except the mythical fourth one again and again without pause, and I named 2009 the Year of the Video Game in no small part based on “Uncharted 2.” (My status as authoritative culture critic to my multiple children gives this extra weight.) I love both the movies and the games for capturing the explorer in the little boy of my soul and giving him a chance to face danger again. But thinking about the music of those two franchises, maybe it’s time to realize that my little explorer is kind of stupid. The franchises are about very different things, and if I’d ever bothered to listen instead of being entranced, I’d have realized it sooner. “Raiders March” (what almost all of us think of as The Indiana Jones Theme Song, much as we think of “The Skywalker Symphony” as The Star Wars Theme Song) is about Indiana Jones. It is brassy, sharp, punctuated—the song of an American. It’s brassy, bold, and proud, and certain of being an American at a time when Americans were (in the movies) exactly that. It’s not a coincidence that the music turns into something you could hear on a parade field with flags unfurling. Indiana Jones is America in many ways, and the story John Williams tells is one of a fearless and brave country facing danger down. The opening theme to Uncharted, “Nate’s Theme” (in all its incarnations) is, despite its name, not per se about Nathan Drake, the series’ lead character. It’s exotic, with strong wooden drum sounds, and evocatively exotic brass snarls and whispers. It’s what you’d expect to hear in an old movie about British administrators or explorers in the Raj with doom all around them. It suggests danger and action, but mournful tones always sneak back in. To the extent it’s about Drake, it’s the mournful, higher-paced bits that suggest not only a man barely grabbing a ledge, but one for whom doom is always coming. The theme to the most recent (and at least for now, final) Uncharted release only slowly builds up to the familiar notes, and stretches that mournful and reluctant theme out. In their openings, the advertisement for what’s to come, where Indiana Jones is buoyant and proud, filled with brass and short, trailing notes, Uncharted is mournful and dangerous. This doesn’t end with the openings; the composers for each were intent on painting very different pictures. Take “The Keeper of the Grail,” from “Indiana Jones and The Last Crusade.” It carries some of the same evocative notes as the opening, but only after a long, wary note that stretches almost painfully long; and it tells the story not only of Jones’s interaction with that last Grail knight, but his tentative, searching review of the putative Grails. It is fundamentally about Jones and how he sees and navigates the world. By contrast, “Pursuit” from “Uncharted 3: Drake’s Deception” is about the chase, and the environment: always, always, the drums come for you, but this time they’re faster, and there are worried and harried notes. It’s about how anyone would experience that environment and that moment. The contrast is easily explicable on one level: The Uncharted series is a bunch of video games, and to some extent, you want your gamers to identify with the character and feel like they’re in his shoes but still a little bit themselves. In a movie, you’re telling a story, where you seek the audience’s complete identification with the character—in Indiana Jones’s case, America. Therein is the more meaningful difference. Indiana Jones comes from a 1980s zeitgeist that believed in America and reflected a 1930s one that certainly did as well: An America that (repeatedly) punches Nazis because they’re evil, that faces supernatural horror with an everyman smirk, quip, or grimace, and that triumphs in the end. Uncharted has its birth in an age where America either doesn’t believe so strongly in itself (or at least, not so resolutely), and is telling the story of a younger man who happens to be American as he goes from place to place, barely but eventually climbing impossible rock faces and finding amazing treasures, only to lose them and risk the things he claims he values most in the process. Indiana Jones tells a story of hope, promise, and accomplishment in its music; Uncharted tells a story of a dark, dangerous world, with tragedy always around the corner. The first is a story for that brave little explorer; the second is a story for that older man who looks back fondly on him, but thinks the explorer’s adventures can never be. Christopher Badeaux is an attorney practicing in the Atlanta area. All opinions are entirely his own, because no one else would have them. Photo TmarTn2 / YouTube gaming Indiana Jones John Williams Nick Drake PlayStation theme music Uncharted Uncharted 4 video games Copyright © 2017 The Federalist, a wholly independent division of FDRLST Media, All Rights Reserved. googletag.cmd.push(function() { googletag.display('div-gpt-ad-1463670073398-2'); }); window._taboola = window._taboola || []; _taboola.push({mode:'thumbs-2r', container:'taboola-below-main-column-mix', placement:'below-main-column', target_type:'mix'}); window._taboola = window._taboola || []; _taboola.push({flush:true}); 0 Comments /* * * CONFIGURATION VARIABLES: EDIT BEFORE PASTING INTO YOUR WEBPAGE * * */ var disqus_shortname = 'thefederalist23'; // required: replace example with your forum shortname /* * * DON'T EDIT BELOW THIS LINE * * */ (function() { var dsq = document.createElement('script'); dsq.type = 'text/javascript'; dsq.async = true; dsq.src = '//' + disqus_shortname + '.disqus.com/embed.js'; (document.getElementsByTagName('head')[0] || document.getElementsByTagName('body')[0]).appendChild(dsq); })(); Please enable JavaScript to view the comments powered by Disqus. comments powered by Disqus ]]>
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