MOVIE REVIEW – Guy Ritchie directs Apple’s lavish treasure hunt adventure with style, though its two leads seem committed to derailing any charm this Indiana Jones wannabe might have.

Apple’s latest big-budget streaming spectacle, Fountain of Youth, often feels less like cinema and more like flashy filler designed to boost subscriber counts. Despite director Guy Ritchie’s best efforts to elevate the tired ingredients into something fast-paced and occasionally inventive, screenwriter James Vanderbilt—mining his own family’s backstory for inspiration—never quite nails the critical balance between grounded drama and playful escapism essential to globe-trotting treasure hunts. The constant squabbling between John Krasinski and Natalie Portman also becomes exhausting, although vibrant performances from supporting players occasionally salvage the predictable proceedings.

Sibling Rivalry and Stolen Paintings

Krasinski steps into the shoes of Luke Purdue, a cocky, morally flexible relic hunter who’s spent years chasing valuable artifacts in his father’s shadow. His sister Charlotte (Portman), a curator and mother in the midst of a messy divorce, is just settling into her new, tedious normal when Luke turns her world upside-down by stealing a priceless Rembrandt from her museum. Reluctantly dragged into her brother’s reckless escapade, Charlotte swiftly loses her job, risks losing custody of her son Thomas (Benjamin Chivers), and finds herself pursued by persistent Interpol inspector Jamal Abbass (Arian Moayed). Luke then proposes a seemingly unbeatable deal: join their late father’s research crew, bankrolled by terminally ill billionaire Owen Carver (Domhnall Gleeson), who promises to handle all of Charlotte’s legal woes. The catch? They must locate the mythical Fountain of Youth.

With Interpol dogging their every move, Luke and Charlotte race through Europe and Egypt, tracking cryptic clues and battling Esme (Eiza González) and a shadowy secret society devoted to protecting the fountain’s secrets. As they close in on what could be history’s greatest undiscovered prize, unsettling doubts arise about Carver’s true intentions. If immortality awaits, is it something anyone should really pursue?

Déjà Vu All Over Again

The amount of cinematic borrowing in Fountain of Youth borders on astonishing, pulling liberally from franchises like Indiana Jones, National Treasure, Tomb Raider, and The Da Vinci Code. While homage isn’t inherently a flaw—modern action films frequently riff on beloved classics—Krasinski unfortunately pushes his overly familiar sitcom persona to the limit, transforming his protagonist into more of an irritation than a hero. Luke constantly belittles Charlotte’s responsibilities, spouting shallow platitudes about adventure being more important than stability, conveniently ignoring real-world consequences. Charlotte, meanwhile, is sharp but passive, and Portman’s convincingly frustrated performance only underscores how tedious their sibling clashes quickly become.

Supporting Roles to the Rescue

Thankfully, the supporting cast consistently outshines the leads. González delivers a magnetic performance as Esme, the ruthless guardian fiercely dedicated to protecting the fountain. Her crisp, unamused responses to Luke’s bravado create welcome tension. Moayed similarly impresses as Inspector Abbass, offering subtle humor and hints of genuine chemistry with Charlotte. Gleeson’s portrayal of the wealthy benefactor Carver exudes effortless charm, making it genuinely disappointing when his character inevitably shifts into darker territory.

Ritchie skillfully handles the film’s action sequences, injecting them with trademark wit and energy. Unfortunately, Vanderbilt’s script (or perhaps the film’s editing by James Herbert) leaves numerous narrative threads hanging. Despite inventive setups and stylish set-pieces, viewers may find themselves frustrated by unresolved plot points and unanswered questions.

All Style, Little Substance

Ritchie earns extra style points with his playful use of Yamasuki’s quirky track “Yama Yama,” and costume designer Loulou Bontemps deserves praise for outfitting characters in increasingly lavish floral patterns, velvet suits, and stylish corduroys. Yet beneath the stylish veneer, Vanderbilt’s screenplay ironically embodies the exact criticism Charlotte directs toward Luke—exploiting family history purely for profit. Neither the story nor the production seriously grapples with the ethical or emotional implications of resurrecting personal tragedies for entertainment.

-Gergely Herpai “BadSector”-