If INDIANA JONES AND THE DIAL OF DESTINY is to be the last time we see this beloved archaeologist on the big screen, well, then it couldn't have been a better finale. The original trilogy did come to a satisfying close with THE LAST CRUSADE, but still audiences were craving for more. They got their wish back in 2008 when Indy and company graced the screen again in KINGDOM OF THE CRYSTAL SKULL, but that film divided viewers. (Myself: It's not my favorite of the movies, but I still enjoyed it despite occasional quibbles.) I wasn't quite so sure if this newest adventure was necessary, because the previous film did provide a fitting conclusion, as far as Indy and Marion's relationship is concerned. All the more so because Steven Spielberg isn't in the director's chair this time.
I needn't have worried. This newest film, while still not quite every bit the instant classic the original trilogy was, is nonetheless great fun. Harrison Ford simply IS Indiana Jones, and each film has seen him give one hundred percent to the role. This one is no different. Although in the first half hour, you only hear his voice, for the actor you see isn't the man himself. For an opening flashback in 1944, in which Indy escapes capture from the Nazis, culminating with a thrilling train chase, Ford is somehow "de-aged" via computer technology. A lot of viewers are split on this, for if done the wrong way, it can look uncanny. But ROGUE ONE: A STAR WARS STORY proved that such a technique is possible if done right when it comes to bringing Peter Cushing back from the dead. Here it's not even noticeable.
Director James Mangold shows that he understands what makes an INDIANA JONES movie work. The film is beautifully shot, with exciting action scenes, mystery, and of course, just the right amount of humor. In this newest adventure, Jones, retiring from his job as professor in 1969 New York City (the same date when Apollo 11 landed on the moon, incidentally), finds himself swept on yet another adventure. This time, it's with his goddaughter, Helena (Phoebe Walter-Bridge), to prevent the titular MacGuffin, a compass-shaped structure that can supposedly cause time travel (shades of BACK TO THE FUTURE here) from falling into the hands of former Nazi stooge Jurgen Voller (Mads Mikkelsen). Accompanying them is Teddy (Ethann Isidore), a Moroccan youth who serves as a sort of Short Round replacement in this tale, if not quite as endearing. (Flawed as TEMPLE OF DOOM was, Short Round was my favorite part of that film, and he's sorely missed here.) I will avoid saying anything else about the movie at this point to avoid spoilers, but I do want to address some of the criticisms of this movie, notably on its wildly off the walls climax which mixes supernatural elements. I will confess that the first time I saw KINGDOM OF CRYSTAL SKULL I was slightly put off by the alien spaceship twist toward the end, although I have since come to accept it. Taking into consideration that similarly fantastical elements have somehow found their way into the finale of each of Indy's adventures (the angels of death from the Ark of the Covenant, the Sankra Stones burning villain's hands, the false Holy Grail causes badguys to age, and the aforementioned alien revelation), such carping seems silly. These movies are, after all, not meant to be based in plausibility, but are fantasies. I think some degree of flexibility regarding how likely such situations could ever happen (and let's face it, Indy somehow manages to survive every situation, no matter how bleak it is), especially in a film like this. It's a pulp adventure story, not a historical epic. So I was ultimately fine with this one's finale.
Arguably the best part of this movie is the ending, after all the badguys have been defeated and things settle down. Again I'll refrain from giving any spoilers, but of the INDIANA JONES movies, I think this one has the most touching finale. I personally felt it was a beautiful send-off to one of cinema's greatest heroes.
Like THE RISE OF SKYWALKER for the STAR WARS sequel trilogy (yes, I still like that movie, deal with it), INDIANA JONES AND THE DIAL OF DESTINY is the end of an era, the last goodbye to a hero we have come to know and love over the years. That same feeling applies to John Williams' terrific music; how bittersweet will it be in the coming years to remember that this will be the final time we ever hear the iconic Raiders March over the closing credits? As split as critics and viewers have been over this one, for me, DIAL OF DESTINY hits all its targets. I had a great time viewing this movie on the big screen, arguably the best way to view a movie of this type. In terms of where this one ranks, I'd roughly say it's among my third favorite of Dr. Jones' escapades. Perhaps a second view might be required for me to fully decide. But the joy of being on that thrill ride of cliffhanging excitement and intriguing mystery, plus Ford's ever infectious swagger charm hasn't left me even after seeing this terrific adventure. Again, I don't think it was mandatory, but the film is enjoyable all the same, which is what ultimately counts.
I needn't have worried. This newest film, while still not quite every bit the instant classic the original trilogy was, is nonetheless great fun. Harrison Ford simply IS Indiana Jones, and each film has seen him give one hundred percent to the role. This one is no different. Although in the first half hour, you only hear his voice, for the actor you see isn't the man himself. For an opening flashback in 1944, in which Indy escapes capture from the Nazis, culminating with a thrilling train chase, Ford is somehow "de-aged" via computer technology. A lot of viewers are split on this, for if done the wrong way, it can look uncanny. But ROGUE ONE: A STAR WARS STORY proved that such a technique is possible if done right when it comes to bringing Peter Cushing back from the dead. Here it's not even noticeable.
Director James Mangold shows that he understands what makes an INDIANA JONES movie work. The film is beautifully shot, with exciting action scenes, mystery, and of course, just the right amount of humor. In this newest adventure, Jones, retiring from his job as professor in 1969 New York City (the same date when Apollo 11 landed on the moon, incidentally), finds himself swept on yet another adventure. This time, it's with his goddaughter, Helena (Phoebe Walter-Bridge), to prevent the titular MacGuffin, a compass-shaped structure that can supposedly cause time travel (shades of BACK TO THE FUTURE here) from falling into the hands of former Nazi stooge Jurgen Voller (Mads Mikkelsen). Accompanying them is Teddy (Ethann Isidore), a Moroccan youth who serves as a sort of Short Round replacement in this tale, if not quite as endearing. (Flawed as TEMPLE OF DOOM was, Short Round was my favorite part of that film, and he's sorely missed here.) I will avoid saying anything else about the movie at this point to avoid spoilers, but I do want to address some of the criticisms of this movie, notably on its wildly off the walls climax which mixes supernatural elements. I will confess that the first time I saw KINGDOM OF CRYSTAL SKULL I was slightly put off by the alien spaceship twist toward the end, although I have since come to accept it. Taking into consideration that similarly fantastical elements have somehow found their way into the finale of each of Indy's adventures (the angels of death from the Ark of the Covenant, the Sankra Stones burning villain's hands, the false Holy Grail causes badguys to age, and the aforementioned alien revelation), such carping seems silly. These movies are, after all, not meant to be based in plausibility, but are fantasies. I think some degree of flexibility regarding how likely such situations could ever happen (and let's face it, Indy somehow manages to survive every situation, no matter how bleak it is), especially in a film like this. It's a pulp adventure story, not a historical epic. So I was ultimately fine with this one's finale.
Arguably the best part of this movie is the ending, after all the badguys have been defeated and things settle down. Again I'll refrain from giving any spoilers, but of the INDIANA JONES movies, I think this one has the most touching finale. I personally felt it was a beautiful send-off to one of cinema's greatest heroes.
Like THE RISE OF SKYWALKER for the STAR WARS sequel trilogy (yes, I still like that movie, deal with it), INDIANA JONES AND THE DIAL OF DESTINY is the end of an era, the last goodbye to a hero we have come to know and love over the years. That same feeling applies to John Williams' terrific music; how bittersweet will it be in the coming years to remember that this will be the final time we ever hear the iconic Raiders March over the closing credits? As split as critics and viewers have been over this one, for me, DIAL OF DESTINY hits all its targets. I had a great time viewing this movie on the big screen, arguably the best way to view a movie of this type. In terms of where this one ranks, I'd roughly say it's among my third favorite of Dr. Jones' escapades. Perhaps a second view might be required for me to fully decide. But the joy of being on that thrill ride of cliffhanging excitement and intriguing mystery, plus Ford's ever infectious swagger charm hasn't left me even after seeing this terrific adventure. Again, I don't think it was mandatory, but the film is enjoyable all the same, which is what ultimately counts.