Fountain of Youth Movie Review (Spoiler Free)

A fun, goofy adventure that copies the likes of National Treasure & The Mummy Returns, yet without the charm or the wit of the two. 

Genre: Action / Adventure / Mystery

Director: Guy Ritchie

Cast: John Krasinski, Natalie Portman, Domhnall Gleeson, Eiza González, Laz Alonso, Carmen Ejogo, Arian Moayed, Benjamin Chivers, Daniel De Bourg & Stanley Tucci.

Run Time: 125 min.

US Release: 23 May 2025

UK Release: 23 May 2025

German Release: 23 May 2025

Ever since National Treasure, we have been missing a light-hearted treasure-hunting flick, so when the trailers for this streamer were released, it gave me hope that this could be a new, campy, supernatural adventure. Similar to Brendan Fraser and Rachel Weisz in The Mummy, Krasinski would radiate his charm, while Portman would ground the premise with her acting. While that is true to some extent, this new Guy Ritchie production is unfortunately bland, filled with generic tropes. Let’s get down to business, as we excavate my review for Fountain of Youth, to determine if the content is drinkable.  

Estranged siblings Luke and Charlotte need to team up to find the legendary fountain of youth, in a bid against a shadowy organisation trying to prevent them. Using historical artefacts, the two embark on an epic quest.

I am a sucker for a good action adventure, especially if it entails treasures plus archeology, so when news of this premise echoed through the internet, I got really excited, especially since we hadn’t obtained a feature of this calibre since 2007. With Guy Ritchie sitting in the directing chair, I thought to myself, “What could possibly go wrong?”  Well, apparently a whole lot.  

The narrative feels like an unoriginal patchwork of general genre clichés, drawn from the likes of Indiana Jones, Tomb Raider, and The Mummy movies, among others, with unconvincing motivations, leading to a weak derivative structure that is easily foreseeable. The script does introduce captivating ideas, such as family legacy or sibling reconciliation, yet fails at developing them in meaningful ways, leading to an emotionless, shallow execution. The redemption arc is set up too late, giving audiences a short sentimental spark during its final minutes.

That said, the screenplay also does contain some positive aspects, such as the spectacle. Though the story leans more into action than character exploration, it does this in big fashion. It also contains all the components of a grand quest, carrying large settings and rapid pacing compared to Ritchie's latest pictures. The plot is fast-moving, using expansive, visually stunning, globe-trotting locations such as Bangkok, Vienna, London, Cairo. However, not all elements are used to satisfaction. 

The dialogues are, regrettably, where this feature really drops the ball. The banter between the siblings was meant to be charming, yet sounded uninspiring plus hollow. Then there is the heavy-handed exposition, relying too much on dull conversations that explain simple plot mechanics. It also repeats specific messages to death, making them sound redundant.

Natalie Portman gives a believable rendition as the sceptic Charlotte, sister to Krasinski’s morally grey Luke, both having good banter. Charlotte is an academic, who unwantingly gets sucked into her brother’s misdeads. Portman anchors the persona, balancing out the chaotic side of the expedition, but her abrupt switch from doubter to believer feels forced. John Krasinski, on the other hand, is completely miscast as Luke. Yes, he brings charm to the character; nonetheless, he lacks the necessary depth for a Rick O’Connell-type of person.

Eiza Gonález portrays the mysterious Esme with a strong physical performance as one of the Protectors. Although limited in screentime, she does leave a positive impact. Her romantic angle with Luke, however, doesn’t convince, feeling unnatural, as both actors have little chemistry. 

Domhnall Gleeson gives a solid, subtle portrayal as the desperate billionaire Owen Carver, smoothly switching between vulnerable human and hard, cold, ambitious philanthropist. Unfortunately, his character arc is way too predictable, with the writing forcing him into a cookie-cutter stereotypical box. 

The rest of the supporting characters are underwhelmingly written, with the talents of Lez Alonso or Arian Moayed being completely wasted.

Just as with the screenplay, the camera work is a similar mixed bag. The dynamic movement complements the narrative action well by employing fluid tracking shots, as well as kinetic scenes that maintain high energy. Equally, the utilisation of handheld recorders during chases infuses those sequences with a sense of danger plus urgency. However, the inconsistency between the polished statuary pictures and gritty handheld footage undermines its optical quality, resulting in identity whiplash. 

Then there is the overuse of shaky cam during fighting segments, or the reliance on quick cuts that create disorientating action. While the diversity of the different global settings is beautifully captured, other frames contain unpleasantly cluttered sets. 

The colour palette can be, at times, a little too sanitised, making the overall product look artificial. The choice to use practical, in-camera effects over computer imagery or green-screen anchors the film in realism. That said, the few CGI elements that have been used for the more mystical side of this tale come off as cartoonish, contrasting in tone.

The sound design is immersive, using environmental layers to bring the different locations to life. It also makes use of clear action sounds, though playing it safe with mostly clichéd sonic effects. The music, composed by Christopher Benstead, uses energy-filled themes that represent the genre, yet become repetitive.

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Verdict: This new treasure hunting flick by Guy Ritchie is an absolute missed opportunity. Painting a big-time adventure canvas, using lush, exotic settings, as well as a fast-flowing pace, the story is ultimately brought down due to its dependence on genre tropes, as well as the superficial script. Intriguing objectives are set up but never explored thoroughly. Conversations are generic, missing the usual wit of such premises. The cinematography uses dynamic handheld camera movements that are immersive. Sadly, the many uses of shaky cam in action segments can distract from what is happening on screen. The colour is at times too polished, while the CGI can look unfinished, though practical effects do blend in well, supporting the narrative. If you don’t mind turning off your brain, being enthralled by pure visual spectacle, this could be right up your alley; otherwise, it will disappoint. It’s a mediocre 5.5 out of 10. 

Have you seen Fountain of Youth yet? It's available to stream on Apple TV+. Let me know if you agree with my review by leaving a comment below. Thank you very much for reading!