Indiana Jones and the Dial of Destiny Review

Indiana Jones is back, whip in hand, for one final adventure in The Dial of Destiny. Set in 1969, this swan song for Harrison Ford’s iconic archaeologist attempts to balance heartfelt nostalgia with a new chapter of treasure hunting and Nazi-punching escapades. Directed by James Mangold, the film delivers a mix of high-energy set pieces and introspective moments but struggles to achieve the effortless magic of its predecessors.

The story begins with a familiar setup: Indiana Jones (Ford) is reluctantly drawn into an epic quest by his goddaughter Helena Shaw (Phoebe Waller-Bridge). Their target? Archimedes’s Antikythera is a legendary artifact with time-altering powers. Along the way, they face off against Voller (Mads Mikkelsen), a former Nazi astrophysicist with sinister ambitions, in a classic globe-trotting race for answers. However, the heart of the film lies not in its action but in its reflection on Indy’s life — his regrets, losses, and the weight of a world that seems to have outgrown him.

The opening prologue flashes back to the waning days of World War II, featuring a digitally de-aged Ford. While the sequence sets the stage for the narrative, the CGI de-aging technology feels unnatural, pulling the viewer out of the action. Despite these technical distractions, the setup teases the adventure’s stakes with a nod to the franchise’s signature blend of history and myth.

Ford, now 80, delivers a nuanced performance, portraying an aging Indiana Jones with emotional depth. His portrayal of a weary but determined hero grounds the film, particularly in quieter moments that explore his strained relationships and sense of obsolescence. It’s a poignant farewell for the character, even as the movie falters in other areas.

Waller-Bridge’s Helena is a modern foil to Indy, brimming with wit and ambition. However, her character’s charm often feels forced, relying on quippy dialogue that doesn’t always land. Newcomer Ethann Isidore’s Teddy, a plucky young sidekick, feels like a callback to Temple of Doom’s Short Round, but his inclusion adds little to the narrative. Mads Mikkelsen’s Voller, though menacing, lacks the complexity of previous Indy villains, making him a serviceable but forgettable antagonist.

Mangold, known for crafting emotionally rich action films like Logan, faces a monumental challenge in following Steven Spielberg’s masterful direction. The result is a film that replicates the shape of classic Indiana Jones adventures but lacks their energy and ingenuity. Action sequences, such as a chaotic tuk-tuk chase in Tangier, are visually detailed but clunky in execution. The film’s reliance on CGI further dilutes the tactile, grounded feel that defined Spielberg’s work.

The artifact itself — The Dial of Destiny — introduces intriguing ideas, but its fantastical elements stretch the suspension of disbelief even by Indiana Jones standards. The climactic payoff, while ambitious, feels frivolous rather than awe-inspiring, leaving viewers questioning whether the journey was worth the destination.

For fans, The Dial of Destiny delivers moments of nostalgia that tug at the heartstrings. The callbacks to past adventures, John Williams’ soaring score, and Ford’s earnest portrayal remind us why Indiana Jones is a beloved cinematic icon. However, these moments can’t fully compensate for the lack of spark and innovation in the broader narrative.

While The Dial of Destiny is far from the worst entry in the series, it’s a bittersweet reminder that some adventures are best left in the past. It’s a heartfelt, if imperfect, sendoff for one of cinema’s greatest heroes, inviting audiences to reflect on the legacy of Indiana Jones while acknowledging that, perhaps, the era of this whip-cracking archaeologist has finally reached its end.