WARNING: Spoilers Within.
(1) Insultingly Preposterous Stunts
It’s one thing to have close escapes and improbable occurrences in the context of an action serial. But shutting yourself in a refrigerator (lead lined or not) to ride out a nuclear explosion is just bullshit. Even if the fridge had the structural integrity to survive the on-screen blasting and bouncing, the contents would have been goo and a fedora. Any time I say to myself, “this is bullshit,” I’m not being entertained, I’m being jarred out of the movie. This occurred constantly throughout the film, with elaborate and unexplained vine-swinging and monkey-commanding techniques or riding boats off of huge waterfalls without any real consequenses. Would it have been that hard to make the stunts more believable?
(2) Insultingly Stupid Plot
There are evil agents after you. They know who you are. They just got done chasing you around the campus where you work. What do you do? If you’re Indiana Jones, you go home and calmly consult some reference materials. Then there’s uniformed and armed members of the Soviet military running around unsupervised on foreign soil. In the Western Hemisphere. Unnoticed. Meanwhile, the nuclear explosion had absolutely no relevance to the rest of the film, they apparently just thought it would be cool and show that we were beyond WWII. It felt like there wasn’t a script as much as there were a bunch of 3×5″ cards on a bulletin board with cool ideas written on them that they had to try to connect somehow.
(3) Insultingly Inconsistent Gimmicks
The Crystal Skull is intensely magnetic, drawing anything metal towards it. Except when it’s not. Sometimes this happens in the same scene. I can almost visualize the places on the shooting script where they marked through random references to metal being attracted to the skull, with a handwritten “fuck it, the effects guys say they’re busy enough as it is.” The Skull also has spooky mental powers that will permanently alter the mind of whoever stares at it long enough, except that it really doesn’t.
(4) Insultingly Weak Acting
Someone needs to take Shia LeBouef aside and tell him that saying things louder does not actually convey “emotion.” But the pits was Karen Allen, who was either liquored up or already spending her check in her mind throughout the film. Or both. The only woman who was a decent foil for Indiana Jones throughout the films was wasted on bickering and minor participation in the elaborate set pieces. And then there’s Harrison Ford, who showed he was no longer a credible action star in Firewall a few years ago. Instead of acknowledging the age of the character, we pretend he’s still got it. Congratulations on failing to match the emotional depth of Die Hard 4.
(5) Insulting Ending
Good lord, Speilberg — aliens? Really? Nobody could talk you out of that? After Close Encounters, E.T., and War of the Worlds, you really thought you had something else to say about aliens? And the ending is: the aliens say “hey thanks for the skull” and they leave. Actually, I’m kidding, they don’t say thanks. They just vaporize the person they had to thank for the skull return (despite that they cared about humans so much they watched over the ancient Mayans and taught them all about agriculture and architecture), and they head home. They don’t take the treasure that they meticulously gathered over the centuries. Was there a point? A lesson? An allegory? Nope, not unless you think “UFOs are cool” constitutes a point.