Critic Reviews

65

Metascore

Based on 14 critic reviews provided by Metacritic.com
100
San Francisco Chronicle
It's a beautiful machine, thought out and revved up to the last detail, with no other purpose but to delight - and it delights. [24 May 1989, Daily Notebook, p.E1]
90
The New York Times
Though it cannot regain the brash originality of ''Raiders of the Lost Ark,'' in its own way 'The Last Crusade' is nearly as good, matching its audience's wildest hopes.
90
The Harrison Ford-Sean Connery father-and-son team gives Last Crusade unexpected emotional depth, reminding us that real film magic is not in special effects.
88
Chicago Sun-Times
It is just as well that Last Crusade will indeed be Indy's last film. It would be too sad to see the series grow old and thin, like the James Bond movies.
88
USA Today
The relaxed and confident Crusade is the first Jones outing to benefit from actual characterizations. [24 May 1989, Life, p.1D]
80
Start lining up now, bring a bullwhip -- and maybe some d-Con. Indiana will do the rest.
75
Chicago Tribune
Fully up to, as well as virtually indistinguishable from, its predecessors... The guarantee of Indiana Jones is that the pace never varies and the tone never changes; when you've had enough, you can feel free to leave. [24 May 1989, Tempo, p.1]
75
Christian Science Monitor
Also predictable is the film's simplistic treatment of themes from religion and myth... It's curious that Spielberg and Lucas see these venerated objects not as symbols of divine inspiration but as repositories of a blind, undiscriminating force that can be wielded (like the three wishes from a genie or a magic lamp) by whoever gets their hands on them. [13 June 1989, Arts, p.11]
60
Los Angeles Times
You can't roll monstrous boulders straight at audiences any more and have a whole theater-full duck and gasp with fright--and pleasure. We may be plumb gasped out. And although Harrison Ford is still in top form and the movie is truly fun in patches, it's a genre on the wane. [24 May 1989, Calendar, p.6-1]
50
Despite strong acting (the slapstick energy between Ford and Connery is wasted), obligatory chases and stunts and splendid art direction, the virtuoso technique evident in every frame remains formulaic--unaccompanied by revelation, epiphany or surprise.

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