REVIEW: ‘Indiana Jones and the Dial of Destiny’ is a Strong Final Outing for Harrison Ford

A tried-and-true pop culture staple, Indiana Jones has had many a grand adventure. With time and age, adventures become few and far between. All things must come to an end. In Indiana Jones and the Dial of Destiny, we, the audience, and Dr. Jones are given closure. While the road is bumpy, the latest and likely final installment to the Indiana Jones franchise still entertains, and Harrison Ford reminds us why he can be the only Indy we see.

Directed by James Mangold and written by Mansgold, Jez Butterworth, John-Henry Butterworth, and David Koepp, Indiana Jones and the Dial of Destiny starts things off in 1944. A de-aged Indiana Jones shows him at the height of his prime going toe to toe with Nazis in pursuit of an artifact. Here we’re introduced to the titular dial of destiny and our primary villain, Jürgen Voller (Mads Mikkelsen). While the opening runs a bit too long, and the action feels more technically manufactured than earned, seeing the Indiana Jones we know is a nostalgic treat.

The treat doesn’t last long as we’re propelled forward to 1969. Apollo 11 has successfully landed on the Moon, and the sun seems shining on everyone except for the much-aged Dr. Jones. Ringing in his final day of teaching, it’s clear interest in history is non-existent among his students. We see his excitement bubble when someone finally starts to answer his questions, but that excitement doesn’t last long.

Out of the blue, his goddaughter, Helena Shaw (Phoebe Waller-Bridge), appears and, not so subtly, asks the famed professor questions about the Antikythera. This same artifact drove her father (Toby Jones) mad with obsession, and while Indiana Jones believes her at her word and shows her the half he has, her word proves false. With both the CIA and Voller’s men pursuing Shaw, Jones inexplicably finds himself thrown into one last adventure to save the world and – ultimately – history itself.

There is a stronger story that is visible below the surface. Chipping away at the standard pulp fiction formula, you’ll see the fluff hiding plot gold. The feeling of being left behind in pursuit of the future, the dangers of clinging to the past and repeating history, and Indiana reconciling with his failings can be seen and are only partially explored.

Without further exploration, Indiana Jones and the Dial of Destiny and its story leading up to a point fail to stand out. The fear, the awe, and the terror from the performances to the imagery are many reasons why the first three films are so memorable. A stronger screenplay would have likely given our hero a stronger send-off.

With that said, no one does Indiana Jones-like Harrison Ford (and no one ever should or so help us all). Ford plays with a different set of layers here. At the height of the space age, Indiana Jones is as much a relic as the ones he used to track down. The generational clash between his old-school style of archaeology versus Helena’s more capitalistic, charmless approach is funny at times but reminds us of what it is we are losing. The humor in these moments is more miss than hit but still manages to entertain.

Ford gets a chance to show vulnerability. Our favorite archaeologist has lived a lifetime, and not all has been an adventure. It has come with its heartaches. This all culminates in an earned character arc that will provide closure for many. While a different possible ending is presented, the kinder, safer route is taken for Indiana Jones. It is one of the rare times that I may agree that the safer route is the better route here.

This leads me to the new addition of Helena Shaw. A combination of writing and possible issues with direction and characterization make the latest counterpart to Indiana Jones harder to warm up to. On the surface, the character itself seems intriguing, but in both performance and development, we fail to see the true depths of Helena. Waller-Bridge’s delivery of the character also feels too decidedly modern, making it difficult to believe we’re watching someone who grew up in the 40s and 50s.

Mads Mikkelsen’s Jürgen Voller is a more subdued Nazi character compared to those we’ve seen in the franchise. In some ways, this approach is more terrifying. Voller has been biding his time, working for the presumed victors and waiting for his chance to enact his plans. Mikkelsen has played quiet villains before. The bombastic, over-the-top approach has never suited his take on villainy. Here, it adds to the feeling of a whipped dog waiting for a scrap of opportunity to get revenge.

There are definite pacing issues regarding the action sequences and the lulls. The opening act is too long, and many other action sequences feel the same. There also is a lack of grit to them, but that is a consequence of how action-adventure films are handled today. The technology and the approach to filmmaking are drastically different now compared to when Raiders of the Lost Ark was released. There’s a touch of irony here when considering the setting of the colder space age.

Relating to that lack of grit, the final sequence is difficult to believe, not because of the circumstances but because of how clean everything looks. It’s likely a nitpick, but specific periods and moments in history have to be dusty, bloody, yet grounded. Without having the excuse of a stylistic approach, ala Zack Snyder’s 300, this moment feels sanitized.

The de-aging of both Indiana Jones and Jürgen Voller is eerie. You can tell something is off, but you can also acknowledge that technology has drastically improved for better or worse. Allowing Ford and Mangold the opportunity to relive Jones’ glory days with this technology helps immensely to take us back in time.

Of course, it’s not Indiana Jones without that classic John Williams score. The score does considerable heavy lifting during scenes, tapping into the audience’s nostalgia during key moments. It serves as a reminder of how great Williams is as a composer that decades later, the themes he’s created spark such emotion.

Indiana Jones and the Dial of Destiny reminds us of Indiana Jones’ glory days. It subsequently reminds us that it’s time to start saying goodbye to this long-time hero. Harrison Ford takes this beloved character to new heights and dimensions, and by the film’s end, you will find yourself trying not to shed tears. Is it a perfect film? No. Outside of Ford, it struggles to capture the memorability of its predecessors. But, as a send-off to our favorite archaeologist, it provides closure we didn’t know we needed.

Indiana Jones and the Dial of Destiny opens in theaters on June 30.