When asked if Harrison ford was too old reprise his role as the world’s most famous archaeologist, the film’s producer Frank Marshall quoted from the original Raiders of the Lost Ark; “It’s not the years, it’s the mileage”.
           
Luckily for the legions of fans now queuing up to see the latest instalment, critics of his pension were ignored and Ford finds himself the poster boy once again for Indiana Jones and the Kingdom of the Crystal Skull. A film, it’s far to say that almost did not get off the ground. A pile of rejected scripts, cloudy nostalgia from its director and Ford’s grey hair occasionally got in the way of things.

But with the posters now gleeming with that familiar typeface, that oh so recognisable whip and hat it finally feels a reality that everyone’s favourite archaeologist-turned adventurer has come back to our screens.
           
Giving due credit to the mammoth 19-year hiatus between now and The Last Crusade, the action has fast forwarded to the 1950’s, where Nazi’s and pistols are now replaced by Soviets and science fiction. With the temptation to indulge in a modern CGI funfair, Crystal Skull could have easily descended into a nostalgic nightmare, complete with a rusty Ford bumbling over lines whilst the younger cast take centre stage.

Doubt is quickly brushed aside as the steamroller of an opening rekindles all magic and instant classic flare of the original. Quests for hidden treasure unfold with the same captive excitement, and all the sets, car chases and one-liners perfectly meet the charm we expect from an Indy film.
           
Even as Jones holds an overwhelming presence, the supporting cast more than hold their own against Ford’s titanic character. Cate Blanchett as a campy Soviet villain and John Hurt ambling through as a delirious old coot are welcome soufflés to the Indiana menu, and whilst the introduction of Shia LeBeouf as Indy’s forgotten son may seem a gimmicky ploy- his delivery and spritey inclusion serve the package well.

Father-son dynamics add a family dimension, and Indy’s age is treated with playful jokes: “Come on gramps” LeBeouf remarks, rekindling memories of Connery’s witty cynicism from The Last Crusade.
           
Whilst the characters flow nicely, its action occasionally verges on the crowded, and there is the odd feeling that one too many set pieces have been squeezed inside its running time. Its grand scope and ambitious mythology may overwhelm original audiences, as will that ending which may raise a few curious eyebrows.

But as a single entity in the Indiana Jones universe it definitely holds its own against the passage of time. This film may be not a reinvention of a classic series but merely serves to be an extra arm of it. It ticks all the boxes and satisfies all the urges that legions of fans had wished about for nigh on two decades. It by no means casts a shadow over the original trilogy but definitely stands proudly beside it.