A bounding thrill ride caps off the iconic hero’s adventures in pure escapist fashion
Let’s first recall that Indiana Jones films were inspired by campy serials and pulp novels of the 1930s and 1940s, thus an unperturbed sense of adventure and eagerness for escapism has always been key to enjoying each film. Regarding suspension of belief, every viewer’s tolerance may vary, perhaps hitting a ceiling somewhere between powerful holy relics and extraterrestrials. That being said, the enjoyment of any given Indy film is not all on the viewer’s shoulders. An Indiana Jones film needs to be filled with adventure, introduce us to exotic locales and archeological lore, and look good while doing so. Of course, it also needs the willing participation of Harrison Ford. The first three films, Raiders of the Lost Ark, Indiana Jones and the Temple of Doom, and Indiana Jones and the Last Crusade have all these ingredients and are universally considered iconic examples of the action-adventure genre (even if Doom remains polarizing). The fourth film, Indiana Jones and the Kingdom of the Crystal Skull, featured a sixty-five-year old Ford, underdeveloped side characters, and a plot that aggressively pushed the boundary between escapism and ridiculousness, with mostly cringeworthy results. But even Crystal Skull has its defenders. Not here. Not today. With a great sigh of relief, then, I’m happy to report that Indiana Jones and the Dial of Destiny, the fifth and final Indiana Jones film, manages to deliver a thrilling adventure and an emotional send off, even as it doubles down on its own outlandishness.
For Indy’s latest outing, James Mangold (Logan; Ford v Ferrari) sits in the director’s chair, graciously passed to him by the franchise’s previous helmer, Steven Spielberg. Dial of Destiny begins at the end of World War II, where Indiana Jones (a de-aged Harrison Ford) is captured by a Nazi battalion hunting for ancient artifacts. Here Indy first encounters Jürgen Voller (Mads Mikkelsen), a Nazi scientist frustrated by the Führer’s handling of the war. An exhilarating train sequence ends with Indy and his compatriot, Basil Shaw (Toby Jones), in possession of half of the Antikythera, a mechanism created by the ancient Greek mathematician Archimedes that the Nazis want for nefarious time-altering beliefs. Flash forward to 1969, where a grumpy and soon-retiring Dr. Henry “Indiana” Jones is visited by his goddaughter, Helena Shaw (Phoebe Waller-Bridge), who wants to pursue the other half of the Antikythera. Globe-trotting chases ensue, as Jones and Shaw try to find the Antikythera before Voller, his right-hand man Klaber (Boyd Holbrook), and their Nazi squad acquire it and use its powers for evil.
Mangold masterfully handles the action set pieces, and Dial of Destiny has more than a few rousing chases. Each is well-choreographed, excitingly shot by cinematographer Phedon Papamichael (The Trial of the Chicago 7), and features the iconic musical themes of composer John Williams. To have Williams, at 91 years old, provide an accompanying score to Indy’s last adventure feels like a tremendous gift. The action is spread throughout the film, reminiscent of the franchise’s greatest moments, featuring creepy crawlies, an assortment of vehicles, and stunts and pratfalls in equal measure. The franchise’s famous lively, comedic banter also returns, keeping even the most dire situations playful.
Also fun is Ford’s knack for grumpy-old-man line delivery. He clearly cares about this film and the depiction of his character. We also see plenty of the de-aged actor. Dial of Destiny has the most effective use of de-aging technology to date. Second and third viewings might tempt the viewer to search for flaws, but the visual effects are seamless enough upon first viewing so as to not interrupt the story. Seeing non-de-aged Ford on screen is also a pleasure. He’ll be turning 80 next month, and witnessing him adorn the fedora, leather jacket, and whip once again yields nostalgic gratification. Each piece of Indiana Jones iconography, and every beloved character, is still refreshing to see over forty years after Raiders of the Lost Ark was released, and the filmmakers take the extra beat when needed to highlight each and every one.
Waller-Bridge is perfectly cast as Indy’s crafty goddaughter, and the two play wonderfully off each other. She supplies enough energy when Ford’s age prohibits him from doing so. She can switch on charm or sarcasm at a moment’s notice, and is not too surprisingly adept at throwing a few punches. And don’t worry: those meaty Indiana Jones punching sound effects are present and plentiful. The rest of the cast are solid, even if a number of interesting new characters are given short shrift. Mikkelsen is an effective villain, as always, and probably should’ve been given even more screen time opposite Ford.
The final twenty minutes of the film, which feels a bit too long, is when the audience must reach deep for that extra bit of escapist willpower. Time may prove the thematic ideas put forward in the finale more intelligent than they initially seem. There’s a meta commentary buried within the whole film that will take some digesting and the inevitable follow up think pieces to unpack. The good news, though, is whether or not you buy into Dial of Destiny’s ending, it’s entertaining, and a fitting end to Indy’s adventures. The filmmakers take a tremendous risk, but leave us with a sincere and emotional payoff.
In no way does Dial of Destiny measure up to Indiana Jones’ first three outings, but the barrage of comparisons between Dial of Destiny and Kingdom of the Crystal Skull is inevitable. Dial of Destiny is far superior in nearly every way. The only thing Kingdom of the Crystal Skull has over Dial of Destiny is Ford’s fifteen year age gap. He was obviously more energetic and spry back then, and if Dial of Destiny featured 2008’s Harrison Ford, it would’ve been really something. Considering the high stakes and fan trepidation when this fifth film was first announced, Dial of Destiny delivers where it almost assuredly could’ve failed. That may not be enough for some, but for those who intend to bring a desire for escapism and a sense of adventure to the theater — you have chosen… wisely.
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Indiana Jones and the Dial of Destiny opens in Bay Area theaters Friday, June 30th.
