Indiana Jones” star Shia LaBeouf was arrested on suspicion of drunken driving after an auto accident in which he was injured early Sunday, a police official said on Sunday.

LaBeouf was driving a vehicle that collided with another vehicle at 3 a.m. in Hollywood, Los Angeles County Sheriff’s Sgt. Scott Wolf said.

“He subsequently injured his head, knee and hand and was hospitalized,” Wolf said.

Wolf said LaBeouf was booked for misdemeanor DUI (driving under the influence) and then released.

LaBeouf’s passenger and the driver of the other vehicle sustained minor injuries, Wolf said, adding that he did not know their identities.

The accident occurred when LaBeouf made a left turn in front of the other vehicle, causing a collision in which his car rolled over, Wolf said.

LaBeouf, a protege of director Steven Spielberg, starred in this summer’s box office hit “Indiana Jones and the Kingdom of the Crystal Skull.”

He was arrested last November in a Chicago Walgreen Co. store after he refused several requests by a security guard to leave. The trespassing charge was later dropped after the drugstore asked that the case be dismissed.

LaBeouf’s publicists were not immediately available for comment.

Aiming for the summer blockbuster status it will surely achieve, the fourth Indiana Jones movie piles the action on.

“Indiana Jones and the Kingdom of the Crystal Skull” hangs nearly non-stop chase and fight scenes from the most skeletal of plots. A rollercoaster doesn’t have a plot either and that’s essentially what the fourth Indiana Jones film is.

Rather than mess with success, director Steven Spielberg and co-writer, co-executive producer George Lucas follow their Indiana Jones blueprints precisely. For instance, “Crystal Skull” replaces the Holy Grail-hunting Nazis of 1989’s “Indiana Jones and the Last Crusade” with America’s Cold War foes, the Soviet Communists.

The year is 1957 and the Russians, led by imperious KGB agent Irina Spalko, tenaciously track Jones and his new, young sidekick, Mutt Williams. As the sword-wielding Spalko, Cate Blanchett lords it over men under her command and her captives, which, at one time or another, include Jones and Williams.

Harrison Ford, looking older yet fit and ready for more adventure, returns as Jones. In the acting department, Ford doesn’t do anything fancy. His character is all about getting the job done. There’s no emoting and only the briefest acknowledgement of the dearly departed. Which is to be expected. The movie’s incessant action doesn’t leave much time for acting.

Shia LeBeouf, like some teen idol riding shotgun with John Wayne in a vintage western, joins the 65-year-old Ford in “Crystal Skull” for riddle solving, tomb raiding and epic chases. LeBeouf, resembling Marlon Brando in the 1953 motorcycle gang drama, “The Wild One,” makes his entrance on two wheels. He provides weak comic relief, an excuse to fill the soundtrack with ’50s rock ’n’ roll and a link to Jones’ past that will come as no surprise anyone.

Blanchett, Oscar-nominated actress though she is, doesn’t make her KGB agent more than a cartoon character. But there’s no need to be flexing blue-chip thespian skills. The actress’ great cheek bones and cool, cruel eyes will suffice. Again, “Indiana Jones and the Kingdom of the Crystal Skull” ain’t Shakespeare.

The same applies to Oscar-nominated actor John Hurt’s co-starring role as Professor Oxley. A friend of Jones, Oxley has gotten himself into historic trouble in Peru thanks to his quest for the legendary Crystal Skull of Akator.

It’s easy to accuse “Crystal Skull” principals Spielberg and Lucas of a lack of imagination. Despite a change of accents, the movie’s villains are an encore of earlier bad guys. Among the action scenes, for example, there’s nothing new about helpless characters plunging over waterfalls. And despite a relocation to the Peruvian jungle, the collapsing ruins there are old hat, too.

But this new Indiana Jones episode, filmed from a story by Lucas and Jeff Nathanson and screenplay by David Koepp, compensates for lack of imagination through bigger, louder, even more lavish execution. The filmmakers give the series’ followers exactly what they’d given them before, but this time the same old Indiana

Good or bad, actor Harrison Ford will not be reading reviews of the new Indiana Jones movie, which divided the Cannes film festival’s notoriously picky critics.

“Indiana Jones and the Kingdom of the Crystal Skull” had its world premiere at the annual festival on Sunday, and initial reaction was positive.

But with a little more time to reflect on a blockbuster that cost an estimated $185 million to make, reviews have become decidedly more mixed.

“I suppose it would be interesting, but I don’t read reviews,” Ford told Reuters in an interview to promote the film.

“I don’t want to believe the bad stuff and I don’t want to believe the good stuff. It doesn’t really matter,” added Ford, who reprises probably his most famous on-screen role as the whip-wielding archaeologist at the age of 65.

In Crystal Skull, he teams up again with Karen Allen, his co-star from the first Indiana Jones film in 1981.

They are up against an evil KGB agent, played by Australia’s Cate Blanchett, who is seeking to harness the power of a skull which leads them on a high-octane adventure ending with a dramatic encounter with extra terrestrials.

Reviews appearing on the Internet within minutes of the end of the press screening in Cannes were largely positive.

Several, though, have since questioned the wisdom of resurrecting a successful franchise which last hit the screens 19 years ago.

Almost in spite of itself, “National Treasure” defied sniping critics and became one of the surprise blockbusters of 2004, combining family-friendly popcorn thrills with an enjoyable blend of Hardy Boys mystery, Indiana Jones adventure and ludicrous plotting. As a newly minted franchise from über-producer Jerry Bruckheimer, it was “The Da Vinci Code” for the PlayStation set, promising multiplatform merchandising and a sequel mandated by the success of its opening weekend.

Perhaps that explains why “National Treasure: Book of Secrets” feels like it was made out of obligation to Disney stockholders, as opposed to springing from anything resembling inspiration. From start to finish, this lavish, nonsensical product of Hollywood greed betrays the creative ennui of everyone involved. Their paychecks were obviously generous; there’s no other explanation for watching talented people embarrass themselves so badly.

And so it is that we find the likes of Ed Harris, Jon Voight and Helen Mirren (yes, “The Queen” herself) tumbling around in a cavernous catacomb with fellow Oscar-winner Nicolas Cage, as they discover a massive Native American city of gold hidden in the bowels of the Black Hills, under the gaze of the faces on Mount Rushmore.

According to the movie’s by-the-numbers logic, that setting is historically significant: The so-called “Book of Secrets” is known only to U.S. presidents and contains the mother lode of state secrets, from the truth about JFK’s assassination to the cover-up at Area 51 and the location of the aforementioned city of gold. For intrepid treasure-seeker Benjamin Franklin Gates (Cage, looking desperate for a hit), the book holds the key to restoring his family’s reputation, smeared by an allegation that Gates’ great-great grandfather was a conspirator in the Lincoln assassination.

The movie’s convoluted hide-and-seek plot also demands a White House break-in that makes about as much sense as subprime mortgage rates, but that doesn’t stop Gates and his reunited sidekicks (Diane Kruger and Justin Bartha) from staying a step ahead of a villainous treasure-stealer (Harris), who’s got his own reputation to repair.

While Gates’ divorced parents (Voight and Mirren) bicker for witless comic relief, Gates resorts to irrational strategies such as kidnapping the current U.S. president (Bruce Greenwood) and re-enacting several scenes from “The Poseidon Adventure.”

Perhaps the clearest indication of creative bankruptcy is the contrived climax involving a massive tilting platform, upon which our heroes must delicately balance themselves or fall to their certain deaths down a seemingly bottomless chasm. This idea is blatantly stolen from the Oscar-winning West German animated short “Balance” (1989), which packed more cleverness, suspense and substance into seven minutes than this bloated arcade game can muster in two mindless hours.

Jeff Shannon: j.sh@verizon.net