Riddles of the Lost Gods

I watched this one after The Covenant edition. While the covenant edition is the action cut this is more of a riddle clue finding mystery cut of Indiana Jones, which is a different take but a very welcome version to have in the collection. The pace is really cool, although not too sure about the opening scene from the fountain...did not really feel like it belonged but it is simply a courageous take and approach I do enjoy seeing done in fanedits so it did not bother me at all that you tried to make it stand out from other cuts that have been done. I had a lot of fun watching this cut from start to finish and will watch it more than a few times in the future. Thanks for your hard work and obvious creativity :)

Enjoyment: Original: D+
Enjoyment: Riddle of the Gods: B+

Wow.

Well that was a surprise. You know, I've seen this movie enough times via edits to where I thought I knew what I liked in the film, and what SHOULD have been kept, but this edit proved that I don't know crap. Because while I was waiting for what I thought were the stronger parts of the film to come, they never did and I realized I didn't really miss them all that much....especially in such a lean cut of this movie. Even the stuff that was horribly annoying in the other cuts wasn't annoying here...and that's pretty crazy.

My only complaint is that maybe the beginning stolen from The Fountain could have been trimmed a bit... maybe only show the guy holding the dagger up to the sky and stop there, and pan down into the present. I dunno. Something just felt a little off about it. Other than that, I got nothing but praise.

And that ending...my god that ending. I almost stood up and applauded. I couldn't imagine it was fixable...seriously, amazing!

What more could I want? HD....give me this brilliant cut in HD!!!!

This was so good! I easily prefer it to the theatrical release. There is no contest there. The only small contest, in my mind, is between your edit and njvc's. Surely njvc's montage during the Indy-stares-at-the-skull scene was probably better, and a very smart way to use removed footage.

There is one thing that has been bothering me about both edits, and it seems to me, as an outsider, an easy fix. I'm talking about the awful quicksand scene. njvc managed to "remove" the embarrassing snake aspect, and you removed the reveal of Indy's son, but why not cut the whole pointless scene? Moronic character Mutt instigates a pointless escape that goes nowhere and they are recaptured immediately. Why not go from Indy looking at the map with Cate Blanchett, describing where they should be going and fade into the trucks cutting through the jungle?
That would wipe out the stupid snake scene and the reveal about Mutt.
Of course this would only work in a cut such as yours, where you are removing Indy's parentage. (Which I applaud!)

The way you edited the scene inside the back of the truck was perfect. And I was fine with the last line dubbed in of "you're not my dad". I loved it in fact. It was the point of the whole cut. No, Indy wouldn't have a whiny annoying son like you. lol.

The final shot did feel a little like the end of a sitcom, but I am not sure what anyone can do there.

Overall, fantastic. Truly, you took a movie I hated, with a character I loved, and repaired it. Even with the aliens/ufo nonsense, you made this movie, to me, on par with Temple of Doom for sure.

This Indy 4 moves at a cracking pace, with the dead weight removed. At its best, this edit feels like it belongs with the original films, as opposed to the sore thumb it truly is. The opening is superb and fits so well that it's almost like a director's cut. Some of the audio dubs don't work quite so well, and the edit whips along so quickly that you barely have time to breathe, but overall it's a great Indy 4 fix without the groans. (I still dislike that Indy is saved with a snake (!) but doubt that anyone can reasonably do anything about that.) Well worth a watch. Cheers.

Thematically, the fountain intro is perfect. That said, it is too dark to really see anything but thats a problem with The Fountain and not the TMBTM. It fits perfectly to see Orellana infighting with his men but the whole sequence leading up to the top of the pyramid drags pretty hard. And the native in the headdress offering his throat to slit, I don't really see what this adds to the film. It is never payed off later in the rest of the film and really only exists to be unnecessarily mysterious for no reason I can discern. Overlaying Oxley's slow motion Mayan dialog also serves to be more distracting and narratively confusing as well.

I like Orellana getting to the top and looking up at the "interdimensional portal" and I like the idea of your transition from that moment to the modern day of 1957. That said, it is pulled off a little oddly. It goes from the portal in the sky to a start/point in space, which pans down through the darkness and into a bright and beautiful day at the entrance to the Hangar 51 base. Again, not a bad idea and not horribly achieved. I do think that if there was more of a gradient between the black of space and the blue sky, it would have been more of a smoother transition.

At the base, Indy is pulled out first, then Mac. I'm neutral to the order in which they are removed from the car. Continuity error fixed!

We then get to the dialog swaps. Spalko: "Where do you think I'm from?" Indy: "Mars". Might have worked if Ford's line delivery was more appropriate to its new placement, but it stands out pretty hard. Then you get Spalko saying: "No last words Dr. Jones?" to which Indy responds: "You got it pal" (then drops gun) which does not work at all.

I did enjoy how you made Indy's miscalculation of his whip swing onto Spalko's jeep and his crashing into the truck behind him, result in knocking out the passenger of the truck rather than Indy punching him out.

Great repurposing of the line "you are of great interest to the bureau" to a different Indy reaction and then leading into him getting fired to packing to leave to getting on the train. Very lean, very efficient. Exactly what needed to be retained for moving the plot forward logically.

Cutting the KGB car chase was a bit of a loss due to just how much of this film is exposition delivered in boring two shots with nothing to really break up all the info dumping. But Iove the edit of indy receiving Oxley's letter in the diner and then cutting from one letter close up to the next letter close up at Indy's house. Simple, invisible, and visually symmetric. Worse than death, the scenes in between were never alive!

From the plane arriving in Peru and cutting straight to the graverobbing after Indy and Mutt's market conversation felt a little rushed. I'm not sad to see the film transition in this way, but it felt like they knew exactly where to go. Like they knew something we didn't and assumed we did. Because up until this point we have learned about the unfolding plot simultaneously with the characters. I also love how the reverse shot of the graveyard works just as well.

The sanitorium dialog was used really well at the arrival to the cemetery though. Its dark and the new dialog fits pretty spot on. It did sound like it was recorded in a different room though, and needs a little more reverb applied to make it fit.

Once we get to the Soviet jungle encampment, having Marion be threatened right off the bat is probably the most intelligent idea made in this cut. Now rather than Indy just doing what he is told and staring into the skull, his reason for doing so is Marion. Way better.

Indy's staring contest with the skull: this all looked great. But I couldn't help but be pulled out of the scene with the very obvious slowed down "return....return" line that was inserted here. It was just a little too on the nose for me. I think you could even keep this in the film if you just lowered the volume/tweaked it a little more so as to not stand out so much.

Something I REALLY loved was Indy + the gang getting chased by the natives in the cave entrance to the pyramid crater and how the noise of the commotion made it out of the waterfall entrance for Spalko and her cronies to hear and have their attention drawn up towards the cave entrance. Great idea and great implementation.

Nips and tucks in the jungle chase were appreciated. Spalko landing on the ant hill before Indy is way more plausable. No driving the jeep into the tree. Love it. As well as the fx shot of the jeep falling through where the tree used to be. Angels do exist.

Nips and tucks in the pyramid crater. Love how you reversed the wide shot of the crater to match the next shot where they reach the top.

Spalko's lines about "turning you into us" coming back to haunt her as she was killed/transported was a nice touch. Again I think it was a little clunky in implementation, but it worked really well regardless.

Interdimensional portal transition to Indy and the Gang being jetisoned out of the pyramid was great too.

Then we get the Avenger's beam and portal opening in the sky. Great idea and pulled off really nicely. Parts of it do come off pretty abrupt when you cut from the pyramid debris starting to rise to giant boulders floating around and then dropping back down again. I feel like you already showed the top of the saucer so having a quick shot of the inbetween elevation to make the difference between the shots a little more feasable, wouldn't be too horrendous.

Then we get to Mutt's last line of dialog on the mountain top. No matter how much I wish that was the actual dialog he spoke in the theatrical cut, it's poor implementation wrenches you out of the smoothly going experience. Ending on the freeze frame was also a little off putting.

Conclusion: This a short but sweet cut and if anyone is looking for the least painful way to watch Indy 4 but also know what was cut, and therefore remember the context of certain scenes, this one provides a remixed and quick to the point ride. This is definitely better than the theatrical cut, in fact aside from a few spots here and there, I think this is one of the best cuts out there.