THE STORY – Two estranged siblings join forces to seek the legendary Fountain of Youth. Using historical clues, they embark on an epic quest filled with adventure. If successful, the mythical fountain could grant them immortality.
THE CAST – John Krasinski, Natalie Portman, Eiza González, Domhnall Gleeson, Arian Moayed, Laz Alonso, Carmen Ejogo & Stanley Tucci
THE TEAM – Guy Ritchie (Director) & James Vanderbilt (Writer)
THE RUNNING TIME – 125 Minutes
There is a particular type of film that I have, on many occasions, come to describe in a particular vernacular when it achieves certain criteria. Typically, it’s a film that doesn’t have the grandest ambitions to be some provocative piece of cinema and instead opts for broad entertainment. They are generally action fare, with decent spectacle and charming characters to watch. However, even with these modest expectations, the results aren’t that extraordinary. The film will coast along while providing the bare minimum of thrills to be somewhat engaged but not fully to the point where you’re wholly connected with the plight of the narrative. I affectionately have called this type of film a “TNT movie,” an ode to the days when you’d be flipping channels on basic cable and stumble across a fairly benign action piece that you could half pay attention to. It should be noted that this isn’t inherently a pejorative. These efforts can still be enjoyable, but there’s a recognition of how impactful the storytelling can ultimately be with its execution. In the age of streaming services being so dominant, flipping channels have been replaced by browsing menus until you finally surrender and decide to watch something. “Fountain of Youth” feels exactly like this type of film. It’s competently made by a talented crew but lacks a more vibrant personality to be a truly worthwhile experience.
The thrill-seeker at the center of this tale is Luke Purdue (John Krasinski), a treasure hunter who has become obsessed with uncovering the hidden secrets that lie around the world, often tangling with hostile parties who are on the same path. His current venture has him following the clues that will lead to the Fountain of Youth, a goal he must fulfill to honor the memory of his late father, the man who inspired his own fascination with old relics. Luke needs to find an original Rembrandt painting that will hold the next piece of the puzzle, and to do that, he has to enlist the help of his estranged sister Charlotte (Natalie Portman). Her position as a museum curator gives her a unique expertise on ancient civilizations and is a perfect addition to the team that Luke has assembled. After some arm-twisting, Charlotte tags along, though the group has to avoid both an intrepid Interpol agent (Arian Moayed) hot on their heels, as well as Esme (Eiza González), a member of a mysterious order that has vowed to keep the fountain a mystery. It’s a race against time to see which party will succeed and reveal the actual discovery of what awaits at the end of this journey.
These days, it feels like Guy Ritchie is working within one of two frameworks. Either he’s wrestling around with gritty criminals and gangsters, propping up morally dubious characters as charming anti-heroes, or he’s jet-setting around the world in the service of slick capers with a lighter touch. The latter is the less intriguing aspect of his filmography and one that has seemingly hampered that artistic sensibility that seemed so vibrant with the likes of “Snatch” and “Lock, Stock, and Two Smoking Barrels.” At this point, I hunger for the “Sherlock Holmes” days instead of the bland action set pieces he now assembles. Ritchie can often default into the workmanlike gun-for-hire, which makes him proficient without ever being notable. The car chases and fight scenes have a competent flow to them but also lack a distinct personality. It doesn’t help that the aesthetics look far too clean. Every set is so neatly constructed and organized that nothing has a tactile, lived-in texture. It comes across as a set, even if it’s an expensive one. That’s probably why the set piece aboard a sunken ship that has been raised out of the water is the only one of real note. The rusted walls and gallons of rushing water are the one time the production design has a moment to feel more rugged. It’s a unique sequence that ultimately devolves into more banal choreography, which is reflected in the rest of the tedious action on display.
Similar to Ritchie, James Vanderbilt’s career as a screenwriter has seen its fair share of highs and lows. Certainly, the writer of “Zodiac” and “The Rundown” has an understanding of both compelling mystery and engrossing genre fare. However, a filmography that also includes the likes of “The Amazing Spider-Man” and “Independence Day: Resurgence” can also fall victim to uninspired storytelling. What’s most damning about this screenplay is how disinterested it is in providing even the barest of foundation for its characters. There’s plenty of homage paid to films like “Raiders of the Lost Ark” and “National Treasure,” but whereas those films took the time to establish the greater framework for the individuals in the story, this film acts like it’s already launching into a sequel. Perdue is immediately seen outrunning some bad guys without showcasing much of a skillset that makes him all that clever, nor a commanding screen presence that would make a captivating figure. Charlotte is also weakly defined as she’s saddled with a troubled marriage subplot that doesn’t even have a complete arc. Even the other characters on the team barely make an impression and contribute no flair to the story, an utter waste of the talents of Laz Alonso and Carmen Ejogo. In fairness, the third act does start to become more engaging when the adventure indulges more in puzzle boxes that are far more compelling. Still, the story eventually backslides into an onslaught of generic gunfights and uninspired visual effects work that’s too reminiscent of previous films that explored these topics with greater impact.
Krasinski can be a charming figure on screen and has also proven his action hero bona fides already, but there’s very little to salvage in this role. Perdue is just too much of a cipher of familiar archetypes we’ve seen before: the affable nerdy type whose awkward charisma can spout off quick quips while also being a formidable physical challenge. It’s a bland characterization that he doesn’t particularly elevate from the page. Portman looks to be alone on an island, not really giving that much life to Charlotte either beyond the bare minimum that a capable actress like her can provide. Portman will always be an intriguing actor to watch, but she’s not given the chance to be especially funny or clever in this role. Domhnall Gleeson sleepwalks as the billionaire benefactor, tagging along, who has his own secret revelations that can be seen from a mile away. Moayed would be more effective if not for playing a completely unnecessary character, and Stanley Tucci shows up briefly for what is tantamount to a thankless cameo. González is the only one who makes any kind of real impression. She’s the only one who seems perfectly calibrated to this material, delivering every line with a playful tone that can be both seductive and insidious. You wish the film could have made more room for her, either as a more prominent member of the central ensemble or as the film’s main antagonist. As is, she’s a fun addition to a mostly unremarkable cast.
Sometimes, a movie is just too polished for its own good. It’s nice to see all the money on the screen, but without at least some rugged edges, the product just seems hollow. “Fountain of Youth” might want to harken back to a certain age of action spectacle, but it lacks far too much distinction to become truly unique. Worse than not being great, it never sinks to enough depths to become a terrible trainwreck, either. The average set pieces, mildly effective humor, and decent chemistry between the actors just make the experience all the more laborious to endure. Your emotion doesn’t rise to the level of outright contempt, but you’re not moved by any of the attempted grandiosity either. Usually, that’s a perfect scenario for a movie you are half-paying attention to while sitting on the couch at home, which can still be enjoyable. But sometimes, you also yearn for absorbing narratives and characters, too. That is sadly elusive here.
