Renowned thief and outlaw Luke Purdue (John Krasinski) teams up with billionaire Owen Carver (Domhnall Gleeson) on a daring quest to uncover an ancient treasure rumored to grant immortality. Their plans hinge on recruiting Luke’s museum-curator sister Charlotte (Natalie Portman), who remains steadfastly opposed. Meanwhile, the relentless mercenary Esme (Eiza Gonzalez) pursues them with fierce determination, determined to thwart their ambitions.
Despite its promising premise and a cast boasting Oscar winner Portman alongside Emmy nominee Krasinski, Fountain of Youth is plagued by a pervasive flatness of emotion. The film’s potential is undermined by tiresome dialogue masquerading as sibling banter, shallow supporting characters, and villains whose menace is as effective as that of toddlers. The treasure-hunting storyline, reminiscent of discarded plots from Dan Brown’s thrillers, offers little originality or excitement.
Central to the movie is the familiar trope of estranged siblings whose squabbles ultimately dissolve whenever danger arises. Luke often reminds Charlotte—and the audience—that adventure runs in their blood, a legacy inherited from their father. However, this theme fails to ignite genuine engagement.
Director Guy Ritchie, celebrated for his sharp action-comedies centered on anti-heroes like The Gentlemen (2019) and The Ministry of Ungentlemanly Warfare (2024), ventures here into family-friendly territory with Fountain of Youth. His attempt to craft Krasinski into the archetypal Ritchie male lead—a charming rule-breaker with a roguish wit—falls flat. Krasinski, despite his solid acting chops, struggles to embody the charismatic outlaw whose bravado includes cheeky flirtations with the deadly Esme, even as she tries to take him down. The script clumsily insists Luke’s tomb-raiding exploits are conducted with respectful ethics, a nod to a sanitized adventure ethos.
Portman’s role as the pragmatic, cautious sister devolves into the stereotypical angry female foil, a disservice to her talents and to Krasinski’s as well. Together, they fail to elevate what is essentially a weak hybrid of Angels & Demons (2009) and The Mummy (1999).
What might have unfolded as a breezy adventure movie exploring the quest for the elixir of immortality instead bogs down in tiresome family drama and unremarkable character dynamics. For those interested in adventure movie plots and exploring the broader film industry context, this movie offers a cautionary tale on how star power alone cannot save a weak script.
