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‘Indiana Jones and the Dial of Destiny’ Review: Turning Back the Clock

The gruff appeal of Harrison Ford, both de-aged and properly weathered, is the main draw in this generally silly entry in the long-running franchise.

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By Manohla Dargis

What makes Indy run? For years, the obvious answer was Steven Spielberg, who, starting in 1981 with “Raiders of the Lost Ark,” guided Harrison Ford’s hunky archaeologist, Dr. Henry Walton Jones Jr., in and out of gnarly escapades and ripped shirts in four box-office behemoths. By the time Spielberg directed Ford in their last outing, “ Indiana Jones and the Kingdom of the Crystal Skull ” (2008), Indy was in his late 50s and fans were speculating that the character was immortal, even if the franchise itself had begun running on fumes.

As a longtime big Hollywood star and hitmaker, Ford had already achieved an immortality of a kind. Indy-ologists, though, were more focused on the eternal life that Indy might have been granted by the Holy Grail when he takes a healthy swig from it in his third outing, “The Last Crusade” (1989). It’s pretty clear from his newest venture, the overstuffed if not entirely charmless “Indiana Jones and the Dial of Destiny,” that while Indy may not in fact be immortal, the brain trust overseeing this installment wishes he were. They haven’t simply brought the character back for another go, they have also given him a digital face-lift.

The face-lift is as weird and distracting as this kind of digital plastic surgery tends to be, though your mileage will vary as will your philosophical objections to the idea that Ford needed to be de-aged to draw an audience, even for a 42-year-old franchise that’s now older than most North American moviegoers. The results don’t have the spooky emptiness of uncanny-valley faces. That said, the altered Indy is cognitively dissonant; I kept wondering what they’d done to — or perhaps with — Ford. It turns out that when he wasn’t getting body doubled, he was on set hitting his marks before his face was sent out to be digitally refreshed.

The guy you’re familiar with eventually appears — with wrinkles and gray hair, though without a shirt or pants, huzzah — but first you need to get past the prolonged opener, which plays like a franchise highlight reel. These nods to the past are unsurprising for a series steeped in nostalgia. “Raiders” was created by Spielberg’s pal, George Lucas, who saw it as a homage to the serials that he’d loved as a kid. Lucas envisioned a hero along the lines of Humphrey Bogart in “Treasure of the Sierra Madre,” but with morals (more or less), while Spielberg was interested in making a Bond-style film without the hardware and gimmicks.

As soon as the younger Indy appears in “Dial of Destiny,” it’s clear that the nostalgic love for old Hollywood that defined and shaped the original film has been supplanted by an equally powerful nostalgia for the series itself. That helps explain why this movie finds Indy once again battling Nazis, who make conveniently disposable villains for a movie banking on international sales. After directing “Schindler’s List” (1993), Spielberg expressed reluctance to make Nazis “Saturday-matinee villains,” as he once put it . The team here, by contrast, knows no such hesitation, even if evoking Spielberg’s films inevitably raises comparisons that do no one any favors, particularly the franchise’s new director, James Mangold.

The movie opens in 1944 with Indy — wearing an enemy uniform as he did in “Raiders” — being held captive, a sack coyly obscuring his head while Nazi hordes scurry about. Once the sack comes off — ta-da! — the plot thickens with a mysterious antique (à la “Raiders”), nods to the Führer, the introduction of an Indy colleague (Toby Jones) and dastardly doings from a fanatic (Mads Mikkelsen, whose face has been similarly ironed out). There’s an explosion, a sprint to freedom, a zipping car, a zooming motorcycle (as in “The Last Crusade”) and a dash atop a moving train (ditto), a busy pileup that Mangold finesses with spatial coherency.

Things improve once the story cuts to 1969 and Ford and his beautiful, lived-in, expressively alive face make their entrance, with Indy staggering awake wearing just boxer shorts, an intro that elicits chuckles, admiration and bittersweet feelings because Ford’s years are etched into every crease. After some more preliminaries, Indy finds his usual fast-paced groove with familiar friends, foes, narrative beats and action-flick clichés, including a gal pal, Helena Shaw (Phoebe Waller-Bridge, from “Fleabag”), who’s an ethically challenged wisenheimer. The script — by Jez Butterworth, John-Henry Butterworth, David Koepp and Mangold — keeps playing the greatest hits, at times nearly blow-for-blow, kiss-for-kiss.

The story turns on the treasure, a prize that dates back several thousand years and, like time, just keeps slipping away. Pressed to retrieve it, Indy suits up — fedora, bullwhip, leather jacket, check, check and check — and he and Helena race around the globe chasing it while trading banter and, by turns, evading and fighting villains. For some reason, a grizzled Antonio Banderas pops in as a boat captain. At another point, Indy et al. land in Tangier, a setting that evokes “Raiders” and, uncomfortably, the scene in which Indy shoots a sword-wielding Arab, a death that Spielberg played for laughs and that distills that film’s breezy colonialist mind-set.

“Dial of Destiny” avoids such missteps simply by taking aim at Nazis. Indy and company still embark on breakneck chases in putatively exotic locations — including on tippy three-wheelers that careen through Tangier — but with less obvious collateral damage to the locals, if not their food stalls. Like all the action sequences here, this one drags on long enough to kill the fun. Mangold can do action. He’s best known for “ Logan ,” that rare comic-book movie that achieves a just-so balance between genre familiarity and novelty; he should be better known for “ Ford v Ferrari ,” a smart, nimble car story that underscores he can do one of the hardest things in film, which is to turn two people just talking to each other into cinema.

The Indiana Jones series was customized for mass appeal, which doesn’t leave room for Mangold to do much, though at times he slows things down enough for Ford to shift rhythm. It’s hard to believe this or any other installment would have worked half as well without Ford, whose gruffly appealing, unthreatening (to women, importantly) masculine persona has always felt natural and unforced. No matter how outrageous Indy’s trouble, Ford’s persona and outwardly effortless charm — and his ability to drop that rakish smile for something darker, meaner, even threatening — have kept the character tethered to the real world of feelings and consequences. Lucas and Spielberg sketched a cartoon; Ford created a character.

That character, or rather Ford, or really the two of them together are the main arguments for seeing “Dial of Destiny,” which is as silly as you expect and not altogether as successful as you may hope. Among other things, it takes a while to settle down. Everything seems overly strained, at least at first, including the pacing, the story and Waller-Bridge’s performance. It all improves as it continues, or maybe I just surrendered, yielding to the movie’s disposable pleasures, its yearning to entertain you, Mangold’s old-school classicism and, of course, Ford, who, as befits a Hollywood veteran confident enough to make a grand entrance in only his boxers, can still run away with a movie — and run and run — without breaking a sweat.

Indiana Jones and the Dial of Destiny Rated PG-13 for largely bloodless violence. Running time: 2 hours 34 minutes. In theaters.

Manohla Dargis is the chief film critic of The Times, which she joined in 2004. She has an M.A. in cinema studies from New York University, and her work has been anthologized in several books. More about Manohla Dargis

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Indiana Jones and the Dial of Destiny reminds you how much Hollywood has changed

The new Indiana Jones movie hits different in the IP age.

by Alissa Wilkinson

In 1981’s Indiana Jones and the Raiders of the Lost Ark , the mercenary archaeologist René Belloq looks his friend-turned-foe Indiana Jones square in the eye and tells him the absolute truth. “Indiana,” he says, “we are simply passing through history.” They’re discussing the treasure they seek: the Ark of the Covenant, which might be just a valuable old artifact or might be the home of the Hebrew God, who knows. “This — this is history.”

Humans die. Civilizations pass away. Artifacts, however, remain. They tell us who we were, and who we still are.

History — the pursuit of it, the commodification of it, our universal fate to live inside of it — is Indiana Jones’s obsession, and that theme bleeds right off the screen and onto us. After all, Raiders was released 42 years ago, before I was born, and the fifth and final film (or so we’re told anyhow ), Indiana Jones and the Dial of Destiny , just premiered at the Cannes Film Festival, due to arrive in theaters this summer. Watch it at this moment in time, and you’re reminded that you, too, are passing through history. Those movie stars are looking a lot older.

This is a series preoccupied with time and its cousin, mortality, from the characters’ relentless pursuit of the ancient world’s secrets to the poignancy of Jones’s relationships. His adventures are frequently preceded by the revelation that someone or something in his life has died — a friend, a family member, a relationship. Indiana Jones and the Last Crusade , released in 1989, makes the fact of death especially moving, with its plot point turning on immortality and the Holy Grail. More humorously, cobweb-draped skeletons are strewn liberally throughout the series, reminding us that other explorers and other civilizations have attempted what Indiana is trying to do. He’s just another in a string of adventurers, one who happens to be really good at throwing a punch.

Dial of Destiny feels like an emphatic period at the end of a very long sentence, a sequel making its own case against some future further resurrection — not unlike last year’s Cannes blockbuster premiere, Top Gun: Maverick , or 2021’s fourth installment of The Matrix . That’s not just because Harrison Ford is turning 81 this summer. It’s in the text; Dial of Destiny argues, explicitly, that you have to leave the past in the past, that the only way to ensure the world continues is to put one foot down and then another, moving into the future.

Ironic, yes, for a movie built on giant piles of nostalgia and made by a company that proudly spends most of its money nibbling its own tail . In fact, the entire Indiana Jones concept was nostalgia-driven even before the fedora made its big-screen debut. Harrison Ford’s whip-cracking adventurer descends from swashbuckling heroes of pulp stories and matinee serials that George Lucas and Steven Spielberg loved as kids; like that other franchise Ford launched, the Indy series is both original and pastiche, both contemporary-feeling and set in another time, another place, a world that’s far, far away.

Dial of Destiny is loaded with related ironies, though they’re mostly extratextual. On the screen, it’s fairly straightforward: a sentimental vehicle, one that hits familiar beats and tells familiar jokes, comfort food to make you feel like a kid again for a little while. The Indiana Jones movies , even the bad ones, have always been pretty fun to watch in a cartoon-movie kind of way, while also being aggressively just fine as films — I mean that with fond enthusiasm — and Dial of Destiny fits the bill perfectly.

This installment turns on pieces of a dial created by the Greek mathematician Archimedes, which, like most of the relics that pop up in Indy’s universe, may or may not bestow godlike powers on its wielder. Naturally, the Nazis want it, especially Hitler. So the film opens in 1944, with Indy (a de-aged Ford, though unfortunately nobody thought to sufficiently de-age his voice) fighting Jürgen Voller (Mads Mikkelsen) to nab it while getting out of one of his signature high-octane scrapes via a familiar combo of costume changes, well-aimed punches, acrobatics, and dumb luck. Then we jump forward to 1969, to discover a very much not de-aged Indy collapsed into his armchair in front of the TV, shirtless and in boxers, snoozing and clutching the dregs of a beer. This is a movie about getting old, after all.

You can deduce the rest — old friends and new, tricks and turns, mysteries, maybe some time travel, the question of whether the magic is real. Phoebe Waller-Bridge is in this movie as Helena Shaw, Jones’s archaeologist goddaughter, and injects it with some much-needed joie de vivre. There are some fun chase scenes, though director James Mangold’s visual sense (richly demonstrated in previous films like Logan and Ford v Ferrari ) falls a little flat next to the memory of Steven Spielberg’s direction. But for the most part, it’s all here again. I don’t want to spoil your fun.

Yet a thread that’s run through the whole four-decade series, with heightened irony every time it comes up, is the battle between Indy — who firmly believes that history’s relics ought to be in a museum for everyone to enjoy — and fortune-seeking mercenaries or power-seeking Nazis, who want to privately acquire those artifacts for their own reasons. (Leaving the artifact where it is, perhaps even among its people, still doesn’t really seem to be an option.) It’s a mirror for the very real theft of artifacts throughout history by invading or colonizing forces, the taking of someone else’s culture for your own use or to assert your own dominance. That battle crops up again in this installment, with both mercenaries and Nazis on offer. Shaw, voicing a darker archaeological aim, wryly insists that thieving is just capitalism, and that cash is the only thing worth believing in; Voller’s aims are much darker.

It’s all very fitting in a movie about an archaeologist set in the midcentury. But you have to notice the weird Hollywood resonance. When Raiders first hit the big screen, it was always intended to be the first in a series, much like Lucas and Spielberg’s beloved childhood serials. (The pair in fact made their initial Indiana Jones deal with Paramount for five movies.) But while some bits (and chunks) of the 1980s films have aged pretty badly, they endure in part because they’re remixes that are alive with imagination and even whimsy, the product so clearly of some guys who wanted to play around with the kinds of stories they loved as children.

Now, in the IP era , remixing is a fraught endeavor. The gatekeepers, owners and fans alike, are often very cranky. The producers bank on more of the same, not the risk of a new idea. The artifacts belong to them , and they call the shots, and tell you when you can have access or not. (The evening Indiana Jones and the Dial of Destiny opened at Cannes, Disney — already infamously known for locking its animation away in a vault and burying the work of companies it acquires — announced it would start removing dozens of its own series from its streamers.) Rather than move into the future and support some new sandboxes, the Hollywood of today mostly maniacally rehashes what it’s already done. It envisions a future where what’s on offer is mostly what we’ve already had before.

In this I hear echoes of thinkers like Theodor Adorno and Max Horkheimer — two men who fled the Nazis, incidentally — who proposed the culture industry was giving people the illusion of choice, but only the freedom to choose what they said was on offer. You can have infinite variations on the same thing.

It’s a sentiment strangely echoed in Dial of Destiny . One night, Shaw is doing a card trick for some sailors, who are astounded that when they call out the seven of clubs, that’s what they pull out of the deck. But she shows Indy how she does it — by forcing the card on them, without them realizing. “I offer the feeling of choice, but I ultimately make you pick the one I want,” she explains, with a wry grin.

After 40 years and change, Indiana Jones and the Dial of Destiny releases into a world where there’s more stuff than ever to watch, but somehow it feels like we have less choice, less chance of discovery. It is our moment in history — an artifact of what it was to be alive right now. When the historians of the future look back, I have to wonder what they’ll see, and thus who, in the end, they’ll think we really were.

Indiana Jones and the Dial of Destiny premiered at the Cannes Film Festival and is playing in theaters worldwide.

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‘indiana jones and the dial of destiny’ review: harrison ford cracks the whip one last time in a final chapter short on both thrills and fun.

Phoebe Waller-Bridge and Mads Mikkelsen also star in James Mangold’s globe-hopping adventure about the quest for an ancient gadget able to locate fissures in time.

By David Rooney

David Rooney

Chief Film Critic

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Stop screening your calls stars are dialing for kamala, disney regains tv distributor crown as football lifts several media giants, indiana jones and the dial of destiny.

What the new film — scripted by Jez Butterworth, John-Henry Butterworth, David Koepp and Mangold, with the feel of something written by committee — does have is a sweet blast of pure nostalgia in the closing scene, a welcome reappearance foreshadowed with a couple visual clues early on. That heartening return is also suggested by a moment when Harrison Ford ’s Dr. Jones, yanked out of retirement after 10 years teaching at New York’s Hunter College, stops to reflect on the personal mistakes of his past. Which is pretty much the first time the movie pauses for breath, and it happens an hour and 20 minutes into the bloated 2½ hour run time.

Part of what dims the enjoyment of this concluding chapter is just how glaringly fake so much of it looks. Ford is digitally — and convincingly — de-aged in an opening sequence that finds him back among the Nazis at the end of World War II. Hitler has already fled to his bunker and Gestapo gold-diggers are preparing for defeat by loading up a plunder train full of priceless antiquities and various stolen loot.

Scurrying to save himself and rescue his professorial Brit pal Basil Shaw (Toby Jones), Indy ends up in a death match with a Third Reich heavy on top of the train as it speeds through a long mountain pass. But any adrenaline rush that extended set-piece might have generated is killed by the ugly distraction of some truly terrible CG backgrounds. The foundations of this series are in Spielberg’s overgrown-kid playfulness with practical effects. The more the films have come to rely on a digital paintbrush, the less hair-raising their adventures have become.

The bulk of the action takes place in 1969, when Indiana feels the strain even getting up out of his recliner (and Ford commendably shrugs off vanity, making no effort to hide his age). The unexpected return into his life of the late Basil’s daughter Helena ( Phoebe Waller-Bridge ), whom Indy hasn’t seen since her childhood, revives thoughts of Archimedes’ golden double-discus gizmo and whether its purported properties might actually work. Helena claims to have chosen the legendary doodad as the subject of her doctorate thesis.

The dial was split in half by its inventor to avoid it slipping into the wrong hands — or to help flesh out a laborious new installment requiring multiple destinations — so half of it sits in an archeological vault, courtesy of Dr. Jones, and the other half lies in parts unknown. But Helena isn’t the only one interested.

It also brings Nazi physicist Dr. Jürgen Voller ( Mads Mikkelsen ), who had a previous brush with Indy 25 years ago, out of hiding. He’s been living under an alias and working for the NASA space program, developing the technology that took the Apollo 11 mission to the moon. Turns out he changed his name but not his political persuasion, so going back in time would allow him to “correct” history.

Mangold goes from one set-piece to another without much connective tissue. They include a chase on horseback and motorcycle through the streets of Manhattan that crashes through an anti-Vietnam protest and an Apollo 11 “Welcome Home” ticker-tape parade before continuing in the subway tunnels. There’s also a frantic flight in Moroccan tuk tuks and a dive to the bottom of the sea off the coast of Greece to find a coded guide to Archimedes’ tomb. By that time, you’ll likely have given up following the contorted plot mechanics and just be zoning in and out with each new location.

Or maybe you’ll spend time wondering what drew third-billed Antonio Banderas to such an insignificant role as Renaldo, Indy’s old fisherman buddy, whose diving expertise provides a crucial assist while getting Indy into a tangle with a bunch of outsize CG eels so sloppily rendered that Disney can relax about any Little Mermaid sniping. Renaldo has a crew stacked with male models who have bodies that didn’t exist in the late ‘60s, which seems an intriguing detail, though he’s not around long enough to shed light on it.

Mikkelsen can be a fabulously debonair villain (see: Casino Royale ), but any interesting idiosyncrasies the character might have exhibited are drowned in convoluted plot. This calls for a larger-than-life bad guy, and he’s somehow smaller. Filling the plucky young sidekick spot, Isidore’s Teddy is, well, let’s just say he’s no Short Round and leave it at that.

This is a big, bombastic movie that goes through the motions but never finds much joy in the process, despite John Williams’ hard-working score continuously pushing our nostalgia buttons and trying to convince us we’re on a wild ride. Indy ignores the inevitable jokes about his age and proves he can still handle himself in a tight spot. But Ford often seems disengaged, as if he’s weighing up whether this will restore the tarnished luster to his iconic action hero or reveal that he’s past his expiration date. Both the actor and the audience get a raw deal with this empty exercise in brand redemption.

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Cannes 2023: Indiana Jones and the Dial of Destiny

It only takes the World War II – set prologue of “Indiana Jones and the Dial of Destiny”  to see that James Mangold , as skilled with action as he is (“Ford v. Ferrari”), is not Steven Spielberg . As Indy ( Harrison Ford , de-aged for these scenes) and his friend Basil Shaw ( Toby Jones ), a fellow archaeologist, fend off Nazis on the roof of a speeding train, ducking to avoid tunnels that look suspiciously computer-generated, it’s hard not to flash on Sammy Fabelman studying the gunslingers in his amateur movie and carping, “Fake!”

Fortunately, even if Mangold does not have Spielberg’s genius for constructing set pieces, “Dial of Destiny” improves from there when it jumps forward to 1969 New York. Ford, no longer de-aged, lets it (almost) all hang out, making his entrance wearing nothing but boxers. These days, Indy is finishing up teaching his last class at Hunter College and trying, on some level, to celebrate his retirement. Helena ( Phoebe Waller-Bridge ), Basil’s daughter and Indy’s goddaughter, turns up in his classroom and later at the bar where he’s sulking to reignite his interest in adventure. Helena is as deeply learned as he is, with a daunting array of facts and languages at her disposal, although she doesn’t always share his ideals.

The object of their quest is the missing half of “Archimedes’ dial,” a gadget said to have the ability to predict fissures in time. (The device does not, as far as I could tell, have the power to close the plot holes it creates.) There’s a certain wit in the spectacle that kicks the narrative into high gear: While New Yorkers celebrate the moon landing with a parade, government agents and a Wernher von Braun–like Nazi physicist ( Mads Mikkelsen ) pursue Indy through New York, at one point following him through the subway with Ford on horseback. For all of them, the moon is old-hat.

Mangold doesn’t entirely avoid fan service ( John Rhys-Davies returns as Sallah to drive Indy to the airport), but “Dial of Destiny” mostly sticks to the business of being its own movie. The mini-quests are hit-and-miss. Certainly, the section involving an illicit antiquities trade in Tangier will not please anyone who found the earlier films guilty of stereotyping, and there’s an unfortunate bit with Antonio Banderas as a boat captain who helps Indy and Helena go deep-sea diving in the Aegean. Cooler heads must have prevailed: The movie is not titled “Indiana Jones and the Angry Eels.”

The film’s most reliable source of fun and repartee, Waller-Bridge comes close to stealing the show from Ford, especially when expounding, rapid-fire, on what Archimedes meant in a riddle that she has instantly decoded. Like “ Indiana Jones and the Kingdom of the Crystal Skull ” in 2008, “Dial of Destiny” appears to be coming in for a rocky reception at Cannes, but to my mind, all the sequels’ reputations are inflated by nostalgia (none one matched “ Raiders of the Lost Ark “), and making one is mostly a matter of playing the hits. You wanted an Indiana Jones movie? You got one. But Spielberg, who has only an executive producer credit, is somewhere else.

Ben Kenigsberg

Ben Kenigsberg is a frequent contributor to  The New York Times . He edited the film section of  Time Out Chicago  from 2011 to 2013 and served as a staff critic for the magazine beginning in 2006. 

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All Indiana Jones Movies Ranked by Tomatometer

In creating Indiana Jones , Steven Spielberg and George Lucas paid tribute to the movie serials of their youth, featuring thrill-a-minute action in far-flung locations, breathless cliffhangers, and a clear delineation between good and evil. It doesn’t take too much character work to motivate punching a Nazi in the face.

And they say every actor desires to dress up and play cowboy; Harrison Ford got to wear that hat and ride that horse as Indy, and so much more. He’s a learned doctor, an archaeology professor, a whip-cracking swashbuckler, a romantic lead, and a museum advocate.

The original trilogy — action showpiece Raiders of the Lost Ark , dark prequel Temple of Doom , and spirited The Last Crusade — may be ’80s movies riffing on the ’30s, but they feel timeless. These fantastic voyages of danger and discovery are filled with iconic characters (including Karen Allen as Jones’ old flame Marion, Ke Huy Quan as sidekick Short Round, and Sean Connery as his flinty pops Henry), and strengthened with significant emotional beats and that legendary John Williams theme and soundtrack. Their direct storytelling and stunt-driven action is why we fell in love with movies in the first place.

Past the ’80s, the adventure continued with 2008’s Indiana Jones and the Kingdom of the Crystal Skull , moving the series past World War II and into the atomic era. With 2023’s Dial of Destiny , Indiana Jones takes one last step into the spotlight during the space age. And now we’re ranking every Indiana Jones movie by Tomatometer!

Raiders of the Lost Ark (1981) 93%

Indiana Jones and the Last Crusade (1989) 84%

Indiana Jones and the Kingdom of the Crystal Skull (2008) 77%

Indiana Jones and the Temple of Doom (1984) 77%

Indiana Jones and the Dial of Destiny (2023) 70%

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Indiana Jones And The Dial Of Destiny Review

28 Jun 2023

Indiana Jones And The Dial Of Destiny

It’s not the years, as someone once put it — it’s the mileage. Indiana Jones was feeling that mileage from his very first adventure, 1981’s  Raiders Of The Lost Ark , and in  The Dial Of Destiny  — purportedly his last outing — he’s feeling the years, too. That seems to be the driving force behind this fifth instalment of this most beloved of adventure series: what happens when even the most indestructible hero runs out of road?

Of all the iconic characters Harrison Ford has dusted off in recent years, Indiana Jones, tenured professor of archaeology who never worried too much about getting his hands dirty, seems to be the one he has the most fun playing. There’s real, rugged, grinning affection in Ford’s now five performances, and a real joy in seeing him back in the fedora and leather jacket. Ford may also have been conscious, too, that the previous attempt at a swansong, 2008’s  Kingdom Of The Crystal Skull , didn’t quite hit the mark; enough good stuff in it to feel almost underrated, but enough silly stuff (the gophers, the aliens, the fridge) to feel the need for one last crack of the course-correcting whip.

For this first Spielberg -less outing, all the hallmarks of the series are there as you’d hope them to be, lovingly preserved like archaeological treasures: there is an ingenious and elaborate booby-trapped cave system, there is a throwback map sequence, and there are plenty of Nazis, ready for the punching. But there is also some sadness and regret, a man out of time, finally running out of time, and surveying the ruins of his life; a tone that sometimes feels unusually sombre for this kind of blockbuster.

Dial Of Destiny  has the kind of final showdown that almost makes the finale of  Crystal Skull  feel subtle.

That may be the hand of director James Mangold , a filmmaker who has some understanding of making a bittersweet genre pic about a beloved pop-culture icon in the twilight of his years (see also: Logan ). He moves confidently through action set-piece after action set-piece,  keeping up a frantic pace — but he is clearly at pains to keep track of the man under the hat.

First, though, we flash back to a younger, more self-assured Indy. The film begins, as all good Indiana Jones movies should, in barnstorming fashion: in 1944, at the close of World War II, with an (only mildly uncanny) de-aged Harrison Ford battling the Nazis. He’s aided by fellow academic Basil Shaw ( Toby Jones , filling in the bumbling Brit role previously occupied by Denholm Elliott) as they attempt to retrieve the Lance of Longinus, the blade that pierced Jesus. But another, more intriguing artefact catches their eye: the Antikythera, which the Nazis are particularly interested in for its godlike powers. (Sound familiar?)

That opening salvo is terrific, and moves at a frantic lick, which makes the timeline jump to 1969 all the more impactful. Dr Jones now lives in a dirt-cheap New York apartment, on the verge of retirement and self-medicating with booze. He is still a lecturing professor, but only just; in a neat contrast to the enamoured doe-eyed students of  Raiders  and  Last Crusade , his students are bored and uninterested.

Into this unhappy tableau comes his goddaughter (and Basil’s daughter), Phoebe Waller-Bridge ’s Helena, who sets him off on One Last Quest to find the other half of the Antikythera, and maybe find the spark of adventure he once had. (“This is not an adventure!” Jones actually insists at one point). Waller-Bridge is superb, for her part. If Ford is the cranky, ill-tempered hero, she is the witty, sharp-tongued cynic; like Karen Allen ’s Marion in the first film, a Howard Hawksian woman.

Naturally, the Nazis are also on the case. As Jürgen Voller, Mads Mikkelsen is enjoyably hissable — he is, of course, Hollywood’s favourite accent-for-hire, but this is a thoroughly nasty Nazi, one whose racism and arrogance isn’t downplayed, still bitter about past conflicts. “You didn’t win the war,” he snarls at an American at one point. “Hitler  lost .”

It doesn’t escape the sometimes-wobbly politics that the series has sometimes been accused of; the return of John Rhys-Davies , a white Welshman, as the Egyptian character Sallah, feels a needlessly thoughtless choice in 2023. And the globe-trotting can occasionally feel a bit MacGuffin-by-numbers: we must find the thing, which leads us to the map, which will help find the other thing.

But then it reaches its final act, and suddenly all bets are off. The script hints at something wild from the off, but you’re never quite sure it’s going to go  that  wild. Believe us when we say: it goes that wild. It is a true swing for the fences.  Dial Of Destiny  has the kind of final showdown that almost makes the finale of  Crystal Skull  feel subtle.

Does it work, though — in a way that  Crystal Skull ’s climax didn’t? Sort of! It depends if you are willing to go with it. This is a series that has always gestured towards fantasy. It was conceived by Spielberg and Lucas as a homage to their beloved 1940s serials, cinema as pulp, and this bold-as-brass ending fits comfortably into that tradition. Importantly, it feels true to Indy as a character. In the end, it seems to suggest, it wasn’t about fortune and glory at all, but finding your own little corner of history. And Indy, one way or another, has found it.

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Movie Reviews

'dial of destiny' proves indiana jones' days of derring-do aren't quite derring-done.

Bob Mondello

Harrison Ford — who's about to turn 81 — stars again as the intrepid archaeologist in this fifth (and possibly final) adventure. It's directed not by Steven Spielberg, but by James Mangold. Lucasfilm Ltd. hide caption

Harrison Ford — who's about to turn 81 — stars again as the intrepid archaeologist in this fifth (and possibly final) adventure. It's directed not by Steven Spielberg, but by James Mangold.

It's been 42 years since Raiders of the Lost Ark introduced audiences to a boulder-dodging, globe-trotting, bullwhip-snapping archaeologist played by Harrison Ford. The boulder was real back then (or at any rate, it was a practical effect made of wood, fiberglass and plastic).

Very little in Indiana Jones and the Dial of Destiny , Indy's rousingly ridiculous fifth and possibly final adventure, is concrete and actual. And that includes, in the opening moments, its star.

Ford turns 81 next week, but as the film begins in Germany 1944, with the Third Reich in retreat, soldiers frantically loading plunder on a train, the audience is treated to a sight as gratifying and wish-fullfilling as it is impossible. A hostage with a sack over his head gets dragged before a Nazi officer and when the bag is removed, it's Indy looking so persuasively 40-something, you may suspect you're watching an outtake from Raiders of the Lost Ark.

A digitally de-aged Harrison Ford in Indiana Jones and the Dial of Destiny. Lucasfilm Ltd. hide caption

A digitally de-aged Harrison Ford in Indiana Jones and the Dial of Destiny.

Ford has been digitally de-aged through some rearrangement of pixels that qualifies as the most effective use yet of a technology that could theoretically let blockbusters hang in there forever with ageless original performers.

Happily, the filmmakers have a different sort of time travel in mind here. After establishing that Ford's days of derring-do aren't yet derring-done, they flash-forward a bit to 1969, where a creaky, cranky, older Indiana Jones is boring what appears to be his last class at Hunter College before retirement. Long-haired, tie-dyed and listening to the Rolling Stones, his students are awaiting the tickertape parade for astronauts returning from the moon, and his talk of ancient artifacts hasn't the remotest chance of distracting them.

Phoebe Waller-Bridge as Helena Jonathan Olley/Lucasfilm Ltd. hide caption

But a figure lurking in the back of the class is intrigued — Helena ( Phoebe Waller-Bridge ), the daughter of archeologist Basil Shaw (Toby Jones) who was with Indy back on that plunder train in 1944. Like her father before her, she's obsessed with the title gizmo — a device Archimedes fashioned in ancient Greece to exploit fissures in time — "a dial," says Helena "that could change the course of history."

Yeah, well, every adventure needs its MacGuffin. This one's also being sought by Jürgen Voller (Mads Mikkelsen), who was also on that plunder train back in 1944, and plans to use it to fix the "mistakes" made by Hitler, and they're all soon zipping off to antiquity auctions in Tangier, shipwrecks in the Mediterranean, and ... well, shouldn't say too much about the rest.

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'indiana jones and the dial of destiny' is a whip-crackin' good time.

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Director James Mangold, who knows something about bidding farewell to aging heroes — he helped Wolverine shuffle off to glory in Logan — finds ways to check off a lot of Indy touchstones in Dial of Destiny: booby-trapped caves that require problem-solving, airplane flights across maps to exotic locales, ancient relics with supernatural properties, endearing old pals (John Rhys Davies' Sallah, Karen Allen's Marion), and inexplicably underused new ones (Antonio Banderas' sea captain). Also tuk-tuk races, diminutive sidekicks (Ethann Isidore's Teddy) and critters (no snakes, but lots of snake-adjacents), and, of course, Nazis.

Mangold's action sequences may not have the lightness Steven Spielberg gave the ones in Indy's four previous adventures, but they're still madcap and decently exciting. And though in plot terms, the big climax feels ill-advised, the filmmaker clearly knows what he has: a hero beloved for being human in an era when so many film heroes are superhuman.

Harrison Ford as Indiana Jones Jonathan Olley/Lucasfilm Ltd. hide caption

Harrison Ford as Indiana Jones

So he lets Ford show us what the ravages of time have done to Indy — the aches and pains, the creases and sags, the bone-weariness of a hero who's given up too much including a marriage, and child — to follow artifacts where they've led him.

Then he gives us the thing Indy fans (and Harrison Ford fans) want, and in Dial of Destiny's final moments, he dials up the emotion.

• Indiana Jones

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Parents' guide to, indiana jones and the dial of destiny.

• Common Sense Says
• Parents Say 18 Reviews
• Kids Say 18 Reviews

Common Sense Media Review

Entertaining fifth Indy movie has some shocking violence.

Parents Need to Know

Parents need to know that Indiana Jones and the Dial of Destiny is the fifth and likely final movie in the blockbuster adventure franchise starring Harrison Ford. There's plenty of the series' usual peril and violence, though this one has more deaths that really feel like murders: Several characters,…

Why Age 12+?

Frequent peril/danger, lots of guns and shooting, sometimes in crowded places (i

Fairly frequent drinking: Indy spikes his morning coffee, has whiskey in a bar,

Occasional language includes uses of "damn" and "dammit," "crap," "hell" and "wh

Woman spies shirtless man (one of a couple seen on a boat), says to herself: "pr

A character drinks a bottle of Coca-Cola. Coca-Cola sign. An old Levi's ad is se

Any Positive Content?

Ingenuity, courage, teamwork, and trying to do the right thing are ultimately re

Indy is brave, resourceful, loyal, and smart, and he's dedicated to preserving h

The two primary characters -- Indy (Harrison Ford) and Helena (Phoebe Waller-Bri

Violence & Scariness

Frequent peril/danger, lots of guns and shooting, sometimes in crowded places (including an anti-war protest). Several characters are shot and killed, sometimes very abruptly/execution style by bloodthirsty villains (more deaths feel like murders here than in previous Indy films). Characters are thrown from moving trains and in-flight airplanes and jump/fall from heights. Knives. Fighting, punching. Woman punched in face. Burned/charred corpse in plane wreckage. Child taken captive/in peril. Two characters handcuffed together fall into the water; one escapes and leaves the other trapped, sure to drown. Threats, bloody wounds. Mace or similar sprayed on villains. Blood on hand leaves bloody prints on a phone receiver. Several action-packed car/train/vehicle chases, crashes. Plane crash. Noose put around character's neck; he barely escapes being hung, and swings from the rope for a bit. Explosions: bombs, dynamite, more. Characters held prisoner. Vicious attacking eels, creepy centipedes. Skeletons. Depiction of a large battle includes ships attacking, firing deadly weapons, ships on fire, etc. Yelling, arguing. Characters mourn the loss of loved ones.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Drinking, Drugs & Smoking

Fairly frequent drinking: Indy spikes his morning coffee, has whiskey in a bar, Scotch on airplane, whiskeys on boat, etc. Characters drink from a flask before doing something dangerous. A character says "you've had too many whiskeys." Cigarette smoking. Character sucks on a cigar stub; another has a pipe. Ashtrays shown.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Occasional language includes uses of "damn" and "dammit," "crap," "hell" and "what the hell," "stupid," "pissed off," "shut up," and "cracker." Exclamatory use of "Jesus" and "my God."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Sex, Romance & Nudity

Woman spies shirtless man (one of a couple seen on a boat), says to herself: "promising!" Indy shown wearing just boxer briefs. Tender kiss.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Products & Purchases

A character drinks a bottle of Coca-Cola. Coca-Cola sign. An old Levi's ad is seen on a subway train. Pan Am logo on airplane; ConEd, Brillo logos seen.

Positive Messages

Ingenuity, courage, teamwork, and trying to do the right thing are ultimately rewarded, though some of the heroes' methods and choices are iffy. Family is important here, especially found family; knowing that people care about you can be a calming/positive influence. Violence can be swift and brutal, but it's important to acknowledge and mourn your losses.

Positive Role Models

Indy is brave, resourceful, loyal, and smart, and he's dedicated to preserving historical artifacts and protecting them from those who would misuse them. That said, you probably don't want your kids imitating him, especially given the violence he's forced to use. Helena is smart and proactive, even if her motives are questionable at best. Enemies are portrayed one-dimensionally, as purely evil. Lots of bickering. Two main characters find themselves drawn to doing illicit or unwise things because they think no one will care. When they do realize that someone cares, it settles them.

Diverse Representations

The two primary characters -- Indy (Harrison Ford) and Helena (Phoebe Waller-Bridge) -- are White. Helena is smart and resourceful and has agency; she needs no rescuing. And Indy is now 80 but still active and tenacious. Movie is set in several places, including Manhattan, Sicily, and Morocco; many characters of color in background, but some locations still feel exoticized. Antonio Banderas plays a Spanish diver who helps the heroes. Helena has a young, fearless Moroccan sidekick (Ethann Bergua-Isidore, who's of Franco-Mauritian-Brazilian descent). U.S. Agent Mason (Shaunette Renée Wilson) is Black and is important to the plot, but her story arc plays into some stereotypes. Egyptian character Sallah (Welsh actor John Rhys-Davies) says that he wants his children and grandchildren to understand what it's like to be both American and Egyptian. A minor character uses crutches. Indy makes brief references to having drunk the Blood of Kali and been the target of "voodoo." An African American bellhop has a run-in with the Nazi villain, who says racist things to him (asking him where he's "really" from and making reference to "your people"). The villains are Nazis and all White.

Did we miss something on diversity? Suggest an update.

Parents need to know that Indiana Jones and the Dial of Destiny is the fifth and likely final movie in the blockbuster adventure franchise starring Harrison Ford . There's plenty of the series' usual peril and violence, though this one has more deaths that really feel like murders: Several characters, including innocent bystanders, are abruptly, shockingly shot and killed. Heroes and villains alike use guns and other weapons (Indy has his trusty whip, of course) throughout the movie, and there's fighting and punching, big explosions, high-stakes chases, people being thrown from trains and planes, a villain left to presumably drown, some blood (wounds, on hands, etc.), a burned/charred corpse, vicious eels, creepy bugs, and more. Occasional mild language ranges from "damn" and "crap" to "Jesus" and "hell." A woman briefly indicates sexual attraction to a shirtless man, Indy is shown in his boxer briefs, and a couple kisses tenderly. Characters drink -- mostly whiskey/Scotch fairly frequently, and there's some cigarette smoking. Ingenuity, courage, teamwork, and trying to do the right thing are ultimately rewarded, and family -- especially found family -- is important. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

Parent and Kid Reviews

• Parents say (18)
• Kids say (18)

Based on 18 parent reviews

Classic Indy movie but skip the previews

Fun family movie for tweens and up, what's the story.

INDIANA JONES AND THE DIAL OF DESTINY opens with a sequence set at the end of World War II, with Indiana Jones ( Harrison Ford ) and his friend Basil ( Toby Jones ) trying to rescue an ancient religious artifact from the Nazis. What they find instead is half of Archimedes' Antikythera mechanism, a mechanical dial that's said to bring untold power to whoever possesses and masters it. Indy tangles with sinister Nazi scientist Voller ( Mads Mikkelsen ), but he and Basil manage to escape with the dial. Years later, in 1969, Dr. Jones is freshly retired from teaching when he receives a visit from Basil's daughter, Helena ( Phoebe Waller-Bridge ), who's eager to get her hands on the dial. But why, exactly? Indy quickly finds himself caught up in yet another adventure as the truth unfolds.

Is It Any Good?

This satisfying fifth (and presumably final) Indiana Jones adventure hits all the right beats, understanding that these movies have always been about more than just chases and fights. Directed by James Mangold , Indiana Jones and the Dial of Destiny has some of the same flavor that he brought to his earlier movies about seasoned adventurers ( 3:10 to Yuma , Logan ), and plenty of soul. Ford, 80 at the time of the movie's release, is allowed to look and feel his age (while climbing a stone wall in a cave, he complains about his aches and pains). And yet the stunts and action are all very much still exciting, with Waller-Bridge more than holding her own. A pair of flashbacks that use de-aging digital technology to give us a younger Indy are nearly seamless, too.

One of the best things about the Indy movies is that they revel in scenes set in musty old libraries or storage rooms and delight in the piecing together of 1,000-year-old puzzles -- and this one is no different. These beats provide rests between chases and build the characters. Even though Mangold goes long with Indiana Jones and the Dial of Destiny , at 154 minutes, the pacing largely feels right. We really get the sense of just who Indiana Jones is here, what his history is, and how he feels about things. Now that his story is well and truly told, he's still our hero, but we feel like part of his family.

Talk to Your Kids About ...

Families can talk about Indiana Jones and the Dial of Destiny 's violence . How did it make you feel? Was it exciting? Shocking? What did the movie show or not show to achieve this effect? Why is that important?

Do you agree with Indy that historic artifacts belong in museums? What are today's best practices around preserving cultural treasures?

How are drinking and smoking portrayed here? Are they used casually? Are they glamorized? Are there consequences? Why does that matter?

How does this film compare to the previous Indy movies in terms of positive diverse representations ?

If you had a Dial of Destiny, how would you use it?

Movie Details

• In theaters : December 5, 2023
• On DVD or streaming : December 5, 2023
• Cast : Harrison Ford , Phoebe Waller-Bridge , Mads Mikkelsen
• Director : James Mangold
• Inclusion Information : Female actors
• Studio : Walt Disney Studios Motion Pictures
• Genre : Action/Adventure
• Topics : Adventures , History
• Character Strengths : Courage , Perseverance , Teamwork
• Run time : 154 minutes
• MPAA rating : PG-13
• MPAA explanation : sequences of violence and action, language and smoking
• Last updated : September 26, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

Suggest an Update

What to watch next.

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‘Indiana Jones and the Dial of Destiny’ Does Harrison Ford’s Indy Dirty

• By David Fear

Indiana Jones has fought a lot of screen villains: Nazis , assassins, evil high priests, corrupt rich douchebags, Cate Blanchett, Cate Blanchett’s hair . Yet Indiana Jones and the Dial of Destiny — the fifth movie to feature Harrison Ford’s globetrotting, snake-hating, whip-cracking, fedora-rocking archeology professor — pits our man Indy against the single greatest nemesis he’s ever faced: time.

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But first, we’re whisked back to 1944. A guy in a German military uniform is being led to an interrogation room, as bombs are being dropped all over Berlin. The bag over his head is lifted, and voila! There’s Indiana Jones, looking as if he’d just watched the Ark of the Covenant take out a bunch of vintage no-goodniks mere hours before. The archeologist is after the Lance of Longinus, the spear that pierced the side of Christ and has been “liberated” by a Nazi colonel (Thomas Kretschmann) who believes it’s got magical powers. Jones clocks it as a fake; so does Professor Jürgen Voller ( Mads Mikkelsen ). They both know there’s something else in this batch of stolen goods that is a big deal, however: the Antikythera, a.k.a. Archimedes’ Dial. Or half of it, at least. Whoever nabs this and finds the other half may determine who wins the war.

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Should you try to escape the creeping sensation of familiar-face cameos and callbacks — Easter eggs! Why’d it have to be Easter eggs!?! — showing up at the expense of untangling plot complications or connecting the dots between chase scenes, however, you may find yourself wondering why all this business feels so frenetic without feeling like it’s that fun. There are needs being met here, but they aren’t storytelling-based so much as stoking-the-fanbase and meeting-the-bottom-line ones. Ford still has the fortitude to play the part. But just having him show up to crack whips and crack wise in the name of bringing back that old Indy thrills-spills-chills magic isn’t enough of an excuse to have him don the fedora one last time. “Things move forward,” one character tells Jones. “And sometimes, they move backward.” Someone may have turned the dial a little too much on the latter’s side this time around.

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Indiana Jones and the Kingdom of the Crystal Skull

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Watch Indiana Jones and the Kingdom of the Crystal Skull with a subscription on Prime Video, Paramount+, rent on Fandango at Home, Apple TV, or buy on Fandango at Home, Apple TV.

What to Know

Though the plot elements are certainly familiar, Indiana Jones and the Kingdom of the Crystal Skull still delivers the thrills and Harrison Ford's return in the title role is more than welcome.

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Indiana Jones and the Temple of Doom

In 1935, Indiana Jones is tasked by Indian villagers with reclaiming a rock stolen from them by a secret cult beneath the catacombs of an ancient palace. In 1935, Indiana Jones is tasked by Indian villagers with reclaiming a rock stolen from them by a secret cult beneath the catacombs of an ancient palace. In 1935, Indiana Jones is tasked by Indian villagers with reclaiming a rock stolen from them by a secret cult beneath the catacombs of an ancient palace.

• Steven Spielberg
• Willard Huyck
• Gloria Katz
• George Lucas
• Harrison Ford
• Kate Capshaw
• Ke Huy Quan
• 884 User reviews
• 144 Critic reviews
• 57 Metascore
• 11 wins & 22 nominations total

Top cast 85

• Indiana Jones

• Willie Scott

• Short Round

• Chattar Lal
• (as Rushan Seth)

• Captain Blumburtt

• Maitre d'

• Chief Henchman
• (as Philip Tann)

• Chinese Pilot

• Chinese Co-Pilot

• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Trivia For the bug chamber sequence, Kate Capshaw was really covered with over two thousand insects. She took sedatives prior to the scene to get over her initial fear, and claimed "they definitely worked".
• Goofs Although they might be consumed in some parts of Southeast Asia, snakes, insects, and monkey brains would never be served in India (and especially not in the palace of a Hindu king or "maharaja") due to very strict Hindu and Islamic dietary codes. In fact, a significant portion of Indians (mostly Hindus) are strict vegetarians due to those religious dietary restrictions.

Indiana Jones : Mola Ram! Prepare to meet Kali... in Hell!

• Crazy credits The Paramount mountain dissolves into a mountain on a gong. Kate Capshaw 's hands obscure the words 'starring in', after which her entire body obscures the "Indiana Jones and the Temple of Doom" title.
• Alternate versions To avoid a '15' certificate in the UK (with the sacrificial ceremony said to be bordering on '18', according to a letter sent by the BBFC to UIP in 1984), the BBFC cut 1 minute 6 secs from the film and later said that it was one of the strongest PG ratings they had ever issued. Among the cuts made were a heart ripped from a sacrificial victim and his lowering into the blazing pit, edits to a whipping scene and the fight between Indiana and the overseer, and the removal of a shot of a man's head hitting the side of a cliff. The line "Leave him alone, you bastards" was changed to "Leave him alone" and sounds of screams and violence were also considerably reduced. This PG rated print was the only version available in the UK for many years until October 2012, when the cuts were fully waived for the 12 rated Blu-Ray release.
• Connections Edited into Muppet Babies: Raiders of the Lost Muppet (1984)
• Soundtracks Anything Goes Music by Cole Porter Lyrics by Cole Porter Performed by Kate Capshaw

User reviews 884

• Feb 22, 2020

'Indiana Jones' Stars Through The Years

• How long is Indiana Jones and the Temple of Doom? Powered by Alexa
• Aside from the scene on the rope bridge, does anyone ever use Mola Ram's name in the film?
• After Indy retrieves the vial of antidote from Willie, he really has no more use for her, and she obviously doesn't care for him. Why, then, does she follow him into the plane and stay with him throughout the movie? Why didn't Indy leave her in Shanghai?
• Who were all of those people in the Temple on the other side of the lava pit?
• May 23, 1984 (United States)
• United States
• Indiana Jones y el templo de la perdición
• Sri Lanka (on location)
• Paramount Pictures
• See more company credits at IMDbPro
• $28,000,000 (estimated)
• $179,870,271
• $25,337,110
• May 27, 1984
• $333,107,271

Technical specs

• Runtime 1 hour 58 minutes
• Dolby Atmos

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