Archaeologist Indiana Jones races against time to retrieve a legendary artifact that can change the course of history. Taking over the reins from Steven Spielberg, James Mangold comes in to direct the fifth and final installment in the Indiana Jones saga. 15 years after the disappointing Kingdom of the Crystal Skull, there’s been plenty of optimism from fans that this new film will be a much more satisfying swan song for the iconic swashbuckling adventurer. While part of that statement is true, Indiana Jones and the Dial of Destiny is unfortunately another unnecessary legacy sequel with the budget of a summer blockbuster juggernaut yet without the original trilogy’s heart of gold. At 80 years old, Harrison Ford proves that he can still turn in a charming performance as the aging archaeologist. Where Ford shines in the dramatic and funny moments, he is sadly shortchanged in the bombastic action sequences, which is a mere result of his old age. Like in the previous film, Ford can only do so much to be physically involved in the death defying stunts, thus allowing his younger co-stars to steal the spotlight in his own movie.
Another thing to note is that Ford is de-aged in the opening 20 minutes to look like his younger self, and although there are times where the CGI looks photorealistic, there are several instances particularly when Indy is moving around in which the effects on his face look fake. Phoebe Waller Bridge plays Indy’s goddaughter Helena Shaw and while her chemistry with Ford starts out strong, she eventually has to do much of the heavy lifting in terms of carrying the action scenes and this aspect lacked believability. Bridge does her best to emulate the fast talking witty sidekick persona from characters in earlier entries, but there comes a point where her role overshadows Indy’s to the extent that Indy feels more like a secondary character. Perhaps this is unavoidable given Ford’s old age, but it’s nonetheless an element that can’t be ignored.
One of the biggest disappointments is the lack of screen time from John Rhys-Davies as Sallah, whose role is reduced to a slight cameo. Taking place during the height of the American Space Race in 1969, the first hour of the film has an intriguing set up with a formidable villain in Mads Mikkelsen’s Voller. No matter how good or bad a movie is, Mikkelsen is always a scene stealer, especially when he plays sinister villains. Here is no exception, as Mikkelsen is cold, calculating, ruthless, and diabolical, chewing up every moment he’s on screen with sheer menace. Clocking in at two and a half hours, this is the longest Indiana Jones movie yet and the pacing namely in the second to third act slogs along as a result. As previously stated, the first hour had a promising way of putting events into motion, but the pay off and climax veer into utter nonsense in which there are key plot elements that fundamentally don’t work in terms of plot logic. Voller’s big evil villainous plan and motives ultimately become too convoluted and unclear as the film progresses, making the third act crumble under the weight of its own preposterousness.
Mangold’s direction is solid for the most part, but the CGI heavy action and chase sequences lack the grit, the practical effects, and tangibility that made the classic Spielberg entries so visceral. On a positive note, the ending resolution itself is a sweet, emotionally resonant, and touching conclusion for Indy’s story. By no means is this an unwatchable movie, but it’s noticeably less than the sum of its bold ambitions and doesn’t justify its existence as an “absolutely necessary” sequel. John Williams scores the film and his soundtrack never fails to put a huge grin on my face. Overall, although Harrison Ford at 80 years old is giving it everything he's got for his last outing as Indiana Jones, this fifth and final installment lacks the magic, the excitement, the thrills, and likable supporting characters that made the original trilogy so memorable. Some things are left better untouched, or as Indy would say, “it belongs in a museum.”
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