Review: Indiana Jones and the Dial of Destiny

In the fifth installment of Indiana Jones, the archeologist (Harrison Ford) and his goddaughter Helena (Phoebe Waller-Bridge) race against time to retrieve a relic that could change the course of history. But time isn’t the only thing standing in their way. The pair find themselves facing off against Jürgen Voller (Mads Mikkelsen), a former Nazi who now works for NASA.

When you sit down for an Indiana Jones movie, you know exactly what you’ll get. Humor, history, and Harrison Ford (also action and Nazi’s). And this newest installment hits all of them. The first scene is jarring. Not because of the action or anything, but because of the de-aging on Ford. The technology is truly spectacular. They made an 80-year-old man look like he was once again in his forties. Of course, there are a few issues that the filmmaker tried to cover up. Most had to do with the lip movements, but for the most part, it was truly amazing. Once the shock wears off, you can focus on the prologue. Indi and his friend Basil (Toby Jones) find an ancient dial on a Nazi train. Basil tells Indi to destroy it. Instead, Indi has kept it safe in a museum for decades. Years later, Basil’s daughter Helena learns of this dial and wants to retrieve it. As she and Indi speak, Dr. Voller and his team take the dial, and chaos ensues.

This is a solid Indiana Jones story. It has a really good plot mixed with just the right amount of absurdity. James Mangold has taken over as director, and he does a great job. It’s hard to take a franchise directed by Steven Spielberg and make it your own, but he does. A lot of the shots are Spielberg inspired with a twist. It keeps the film fresh while hinting at the nostalgia we crave.

Phoebe Waller-Bridge was a fantastic addition. Her sarcasm and comedic flare meshed well, with Ford creating excellent chemistry. The two are constantly ping-ponging off each other, keeping you on your toes in each scene, which helps move the two-hour and twenty-two-minute run-time along.

Along with the chemistry, Dial of Destiny is at its best during the action sequences. Watching fights on trains, desert car chases, and bar fights made me feel like a kid again, watching Raiders for the first time. Dial of Destiny is a delightful return and an epic (possible) end to the franchise. It has an absurd climax (don’t worry, no spoilers), but it also kind of works because of the absurdity. There’s a specific type of flare that these films have that just hit the right way. Ford’s gruff demeanor and wisecracks, with the added slipperiness of Waller-Bridge’s Helena and Mikkelsen’s elegance as a villain, add to that spark. It’s a fantastical story built around ancient artifacts that creates shock and awe to entice audiences. Between the nostalgia and John Williams’ triumphant score, Dial of Destiny feels cozy and familiar, and that’s what makes it work. Honestly, if this is the last we see of Harrison Ford’s Indiana Jones, I’m satisfied.