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“Indiana Jones and the Dial of Destiny” is somehow both never boring and never really entertaining. It walks a line of modest interest in what’s going to happen next thanks to equal parts innovative story beats and the foundation of nostalgia that everyone brings to the theater. It’s an alternating series of frustrating choices, promising beats, and general goodwill for a legendary actor donning one of the most famous hats in movie history yet again. It should be better. It could have been worse. Both can be true. In an era of extreme online critical opinion, “The Dial of Destiny” is a hard movie to truly hate, which is nice. It’s also an Indiana Jones movie that's difficult to truly love, which makes this massive fan of the original trilogy a little sad.

The unsettling mix of good and bad starts in the first sequence, a flashback to the final days of World War II that features Indy ( Harrison Ford ) and a colleague named Basil Shaw ( Toby Jones ) trying to reclaim some of the historical artifacts being stolen by the fleeing Nazis. Jones looks normal, of course, but Ford here is an uncanny valley occupant, a figure of de-aged CGI that never looks quite human. He doesn't move or even sound quite right. It’s the first but not the last time in “The Dial of Destiny” in which it feels like you can’t really get your hands on what you’re watching. It sets up a standard of over-used effects that are the film’s greatest flaw. We’re watching Indiana Jones at the end of World War II, but the effects are distracting instead of enhancing.

It's a shame, too, because the structure of the prologue is solid. Indy escapes capture from a Nazi played by Thomas Kretschmann , but the important introduction here is that of a Nazi astrophysicist named Jurgen Voller (a de-aged Mads Mikkelsen ), who discovers that, while looking for something called the Lance of Longinus, the Nazis have stumbled upon half of the Antikythera, or Archimedes’ Dial. Based on a real Ancient Greek item that could reportedly predict astronomical positions for decades, the dial is given the magical Indy franchise treatment in ways that I won’t spoil other than to say it’s not as explicitly religious as items like the Ark of the Covenant of The Holy Grail other than, as Voller says, it almost makes its owner God.

After a cleverly staged sequence involving anti-aircraft fire and dozens of dead Nazis, “The Dial of Destiny” jumps to 1969. An elderly Indiana Jones is retiring from Hunter College, unsure of what comes next in part because he’s separated from Marion after the death of their son Mutt in the Vietnam War. The best thing about “The Dial of Destiny” starts here in the emotional undercurrents in Harrison Ford’s performance. He could have lazily walked through playing Indy again, but he very clearly asked where this man would be emotionally at this point in his life. Ford’s dramatic choices, especially in the film's back half, can be remarkable, reminding one how good he can be with the right material. His work here made me truly hope that he gets a brilliant drama again in his career, the kind he made more often in the ‘80s.

But back to the action/adventure stuff. Before he can put his retirement gift away, Indy is whisked off on an adventure with Helena Shaw ( Phoebe Waller-Bridge ), the daughter of Basil and goddaughter of Indy. It turns out that Basil became obsessed with the dial after their encounter with it a quarter-century ago, and Indy told him he would destroy the half of the dial they found. Of course, Indiana Jones doesn’t destroy historical artifacts. As they’re getting the dial from the storeroom, they’re attacked by Voller and his goons, leading to a horse chase through the subway during a parade. It’s a cluttered, awkward action sequence with power that’s purely nostalgic—an iconic hero riding a horse through a parade being thrown for someone else.

Before you know it, everyone is in Tangier, where Helena wants to sell her half of the dial, and the film injects its final major character into the action with a sidekick named Teddy ( Ethann Isidore ). From here, “The Dial of Destiny” becomes a traditional Indy chase movie with Jones and his team trying to stay ahead of the bad guys while leading them to what they’re trying to uncover.

James Mangold has delivered on “old-man hero action” before with the excellent “ Logan ,” but he gets lost on the journey here, unable to stage action sequences in a way that’s anywhere near as engaging as how Steven Spielberg does the same. Yes, we’re in a different era. CGI is more prevalent. But that doesn’t excuse clunky, awkward, incoherent action choreography. Look at films like “ John Wick: Chapter 4 ” or a little sequel that’s coming out in a few weeks that I’m not really supposed to talk about—even with the CGI enhancements, you know where the characters are at almost all times, what they’re trying to accomplish, and what stands in their way. 

That basic action structure often falls apart in “The Dial of Destiny.” There’s a car chase scene through Tangier that’s incredibly frustrating, a blur of activity that should work on paper but has no weight and no real stakes. A later scene in a shipwreck that should be claustrophobic is similarly clunky in terms of basic composition. I know not everyone can be Spielberg, but the simple framing of action sequences in “ Raiders of the Lost Ark ” and even “ Indiana Jones and the Last Crusade ” is gone here, replaced by sequences that cost so much that they somehow elevated the budget to $300 million. I wished early and often to see this movie's $100 million version.

“The Dial of Destiny” works much better when it’s less worried about spending that massive budget. When Indy and Helena get to actual treasure-hunting, and John Williams ’ all-timer theme kicks in again, the movie clicks. And, without spoiling, it ends with a series of events and ideas that I wish had been foregrounded more in the 130 minutes that preceded it. Ultimately, “The Dial of Destiny” is about a man who wants to control history being thwarted by a man who wants to appreciate it but has arguably allowed himself to get stuck in it through regret or inaction. There’s a powerful emotional center here, but it comes too late to have the impact it could have with a stronger script. One senses that this script was sanded down so many times by producers and rewrites that it lost some of the rough edges it needed to work.

Spielberg reportedly gave Mangold some advice when he passed the whip to the director, telling him , “It’s a movie that’s a trailer from beginning to end—always be moving.” Sure. Trailers are rarely boring. But they’re never as entertaining as a great movie.

In theaters now.

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

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Film credits.

Indiana Jones and the Dial of Destiny (2023)

Rated PG-13 for sequences of violence and action, language and smoking.

154 minutes

Harrison Ford as Indiana Jones

Phoebe Waller-Bridge as Helena Shaw

Antonio Banderas as Renaldo

John Rhys-Davies as Sallah

Toby Jones as Basil Shaw

Boyd Holbrook as Klaber

Ethann Isidore as Teddy Kumar

Mads Mikkelsen as Dr. Jürgen Voller

Karen Allen as Marion Ravenwood

Thomas Kretschmann as Colonel Weber

• James Mangold

Writer (based on characters created by)

• George Lucas
• Philip Kaufman
• David Koepp
• Jez Butterworth
• John-Henry Butterworth

Cinematographer

• Phedon Papamichael
• Michael McCusker
• Dirk Westervelt
• Andrew Buckland
• John Williams

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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.

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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

Archaeologist Indiana Jones races against time to retrieve a legendary artifact that can change the course of history. Archaeologist Indiana Jones races against time to retrieve a legendary artifact that can change the course of history. Archaeologist Indiana Jones races against time to retrieve a legendary artifact that can change the course of history.

• James Mangold
• Jez Butterworth
• John-Henry Butterworth
• David Koepp
• Harrison Ford
• Phoebe Waller-Bridge
• Antonio Banderas
• 1.7K User reviews
• 354 Critic reviews
• 58 Metascore
• 7 wins & 33 nominations total

• Indiana Jones

• Colonel Weber

• Teddy Kumar

• Young SS Officer
• Italian Ticket Seller
• (as Alfonso Rosario Mandia)

• Larry - Beat Poet Guy

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• Production, box office & more at IMDbPro

Who Makes Harrison Ford Laugh?

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Did you know

• Trivia In an interview on Harrison Ford/Vic Mensa (2023) , Harrison Ford explained how the filmmakers digitally de-aged him for the flashback sequence: "They have this artificial intelligence program that can go through every foot of film that Lucasfilm owns. Because I did a bunch of movies for them, they have all this footage, including film that wasn't printed. So they can mine it from where the light is coming from, from the expression. I don't know how they do it. But that's my actual face. Then I put little dots on my face and I say the words and they make [it]. It's fantastic." At 80, he is the oldest actor to be de-aged in a movie, surpassing Al Pacino , who was 79 when he was de-aged in The Irishman (2019) .
• Goofs Indy identifies the half lion half eagle creature carved on Archimedes' tomb as a Phoenix. The creature is actually a griffin and bears little or no resemblance to a Phoenix.

Dr. Voller : You should have stayed in New York.

Indiana Jones : You should have stayed out of Poland.

• Crazy credits The Paramount Pictures logo appears normally, and does not fade into a mountain-shaped opening shot, the only film in the Indiana Jones films to do so. Instead, the Lucasfilm logo fades into a lock on a door in 1944 Germany.
• Alternate versions On the International prints of the film, the original variant of Disney's 100th anniversary logo (with 100 YEARS OF WONDER tagline) was shown as the first logo instead of tagline-less variant of the same logo.
• Connections Featured in AniMat's Crazy Cartoon Cast: Changing of the Bobs (2020)
• Soundtracks Lili Marleen Written by Hans Leip and Norbert Schultze

User reviews 1.7K

• chadk-45495
• Jun 30, 2023

'Indiana Jones' Stars Through The Years

• How long is Indiana Jones and the Dial of Destiny? Powered by Alexa
• What year does the movie take place?
• How old is Indy supposed to be in this film?
• June 30, 2023 (United States)
• United States
• Official Disney (Australia)
• Official Facebook
• Greek, Ancient (to 1453)
• Indiana Jones 5
• North Yorkshire Moors Railway, 12 Park Street, Pickering, North Yorkshire, England, UK (German railway scenes)
• Walt Disney Pictures
• Paramount Pictures
• See more company credits at IMDbPro
• $294,700,000 (estimated)
• $174,480,468
• $60,368,101
• Jul 2, 2023
• $383,963,057

Technical specs

• Runtime 2 hours 34 minutes
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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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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.

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‘Indiana Jones and the Dial of Destiny’ Review: Harrison Ford Plays the Aging Indy in a Sequel That Serves Up Nostalgic Hokum Minus the Thrill

James Mangold's action epic is made in the style of Steven Spielberg, but the exhilaration is gone.

By Owen Gleiberman

Owen Gleiberman

Chief Film Critic

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“ Indiana Jones and the Dial of Destiny ” is a dutifully eager but ultimately rather joyless piece of nostalgic hokum. It’s the fifth installment of the “Indiana Jones” franchise, and though it has its quota of “relentless” action, it rarely tries to match (let alone top) the ingeniously staged kinetic bravura of “Raiders of the Lost Ark.” How could it? “Raiders,” whatever one thinks of it as a movie (I always found it a trace impersonal in its ’40s-action-serial-on-steroids excitement), is arguably the most influential blockbuster of the last 45 years, even more so than “Star Wars.”

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In the prologue, Indy is racing to get hold of the device before Jürgen Voller (Mads Mikkelsen), a mad-dog Nazi scientist, can steal it for himself. Mangold does a winning homage to the playful rhythms of early-’80s Spielberg, as Indy disentangles his neck from a hanging noose and finds himself in a car-vs.-motorcycle chase, only to wind up, along with his British archaeologist associate Basil Shaw (Toby Jones), dueling with Voller on top of a speeding train.

Have you ever seen an action sequence set atop a speeding train? We’ve all seen 10,000 of them, and this one, while efficiently executed, is brought off with just enough CGI that you can see the digital seams. It’s worth noting how audacious the action sequences in “Raiders of the Lost Ark” were, a sensation expanded upon in the darker, spookier, unfairly maligned “Indiana Jones and the Temple of Doom.” But by the late ’80s, when Spielberg gave us “Indiana Jones and the Last Crusade,” as A-okay as that movie was it was already (except for Sean Connery) a revamp on autopilot. And “Indiana Jones and the Crystal Skull” (2008) was the rehash of the revamp, reducing Indy’s antics to tepid formula.

“The Dial of Destiny” at least tosses the series in a new direction, by being the first “Indiana Jones” movie built around the impressive fact of Harrison Ford’s age. He’s 80 now, and a vibrant 80, still handsome and lean, with a scruff of gray hair and a slower, more gravelly voice as well as a combative physicality that now feels more rote than compulsive. After Indy and Basil leap off that train into a river and retrieve the Antikythera (though the other half of it must still be found!), the film cuts to 1969, where Indy himself is now a relic: an old man living in a cruddy New York apartment, waking up to his hippie neighbors blasting “Magical Mystery Tour,” pouring a shot of whiskey into his instant coffee as he glances over his divorce papers.

Mangold sketches in the period well, so that it stands in for the present day ­— not literally, but as a signifier of the idea that Professor Henry “Indiana” Jones has been yanked into the modern world. He’s teaching at Hunter College, where he’s getting ready to retire and keeps that one-half of the Antikythera stashed in the archaeology stacks. Then his goddaughter, Helena Shaw ( Phoebe Waller-Bridge ), shows up (they haven’t seen each other for 18 years), announcing that she’s an archaeologist too and would like to team up with Indy to locate the other half of the Antikythera.

It turns out that Helena has mercenary motives. And while Phoebe Waller-Bridge, of “Fleabag” fame, makes her saucy, spiky, and duplicitous in a cheeky way (she’s like the young Maggie Smith with a boatload of attitude), we never feel in our guts that Helena is a chip off the old Indy block. So while it feels like the film is setting her up to become the “new Indy Jones,” I wouldn’t bet the farm on that happening.

Indy and Helena are going after the Grafikos, the missing other half of the Antikythera, a journey that will take them from New York to Tangier, where Helena tries to unload the piece they already have at an auction for stolen artifacts. Then it’s on to Greece and Sicily, to caves and ruins and giant wriggling caterpillars. Voller is right behind them, along with three assistants: one (Olivier Richters) gigantic, one (Mark Killeen) who will shoot anybody on sight, and one (Shaunette Renée Wilson) who styles herself like a Black Panther. A chase through a ticker-tape parade for the Apollo 11 astronauts, with Indy leaping onto a police horse and riding it into the subway, is grabby in its very absurdity, and a car chase through Tangier, with Indy driving a three-wheel taxi, has enough comic dash to evoke what we cherish about this series. I laughed out loud when Indy leaps into another 3-wheeler at the very moment the one he was driving gets smashed to smithereens.

But those early high points aren’t really followed through on. Mostly, “Indiana Jones and the Dial of Destiny” works by translating Indy’s old daredevil kick-ass fervor into the pure will with which he’s now hunting for the artifact. As the film leaps international locations, the action starts to feel more conventional and less “Indiana Jones”-y. Did I mention that the reason the Antikythera is so valuable is that it can create fissures in time that will theoretically allow one to time travel? The film actually tests this out, with spectacularly preposterous results. But time travel, in “Indiana Jones and the Dial of Destiny,” is really an unconscious metaphor, since it’s the movie that wants to go back in time, completing our love affair with the defining action-movie-star role of Harrison Ford. In the abstract, at least, it accomplishes that, right down to the emotional diagram of a touching finale, but only by reminding you that even if you re-stage the action ethos of the past, recapturing the thrill is much harder.  

Reviewed at Cannes Film Festival (Out of Competition), May 18, 2023. MPA Rating: PG-13. Running time: 142 MIN.

• Production: A Walt Disney Studios Motion Pictures release of a LucasFilm Ltd. Production. Producers: Kathleen Kennedy, Frank Marshall, Simon Emanuel. Executive producers: Steven Spielberg, George Lucas.
• Crew: Director: James Mangold. Screenplay: Jez Butterworth, John-Henry Butterworth, David Koepp, James Mangold. Camera: Phedon Papamichael. Editors: Michael McCusker, Andrew Buckland, Dirk Westervelt. Music: John Williams.
• With: Harrison Ford, Phoebe Waller-Bridge, Antonio Banderas, John Rhys-Davies, Shaunette Renée Wilson, Thomas Kretschmann, Toby Jones, Boyd Holbrook, Olivier Richters, Ethann Isidore, Mads Mikkelsen, Martin McDougall, Alaa Safi.

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'Dial of Destiny': Harrison Ford's final 'Indiana Jones' plays it safe raiding past films

Harrison Ford ’s iconic whip-cracking archaeologist literally rode off into the sunset with his dad in the closing moments of 1989’s “Indiana Jones and the Last Crusade.” So how do you wrap up what is actually the last adventure and somehow live up to an all-time great movie ending?

Therein lies the greatest struggle of “Indiana Jones and the Dial of Destiny” (★★★ out of four; rated PG-13; in theaters Friday). Director James Mangold ("Logan") takes over from Steven Spielberg in this fifth and final outing, following 2008’s underwhelming “Kingdom of the Crystal Skull.” Ford still wears the character’s signature fedora like nobody’s business, and Phoebe Waller-Bridge’s new Helena Shaw brings refreshing vigor and roguish attitude to a throwback story that feels both wildly bizarre and way too safe.

“Destiny” feels most like a thrilling “Indiana Jones” ride at the beginning, an opening sequence set in 1944 as World War II is coming to an end and the hero’s up to old tricks: slugging Nazis, trying to rescue historical artifacts from Hitler’s goons and lucking his way through perilous predicaments – in this case, saving partner Basil Shaw (Toby Jones) from a train and absconding with the mythical Archimedes Dial.

The film then shifts to 1969, and an older Indy who's more likely to raid a liquor cabinet than a hidden tomb. His globetrotting days now behind him, Indy weathers personal problems and an uncertain future. On the same day he retires from teaching – and a parade celebrating the recent moon landing rolls through New York City – his estranged goddaughter Helena shows up asking about the dial, which supposedly can find fissures in time. Indy retrieves it from storage, and to his surprise, Helena steals it to sell to the highest bidder, though they’re not the only interested parties: Jürgen Voller (Mads Mikkelsen), an extremely punchable former Nazi scientist working with the American space program, is an old nemesis who wants to use the dial to change history.

Is Harrison Ford really retiring Indy? He might role play at home: 'Not your business!'

Of course, Indy catches up with Helena, but they only have one half of the dial, sparking a race between good and bad guys that tends to drag over the film's two-and-a-half-hour running time, even when propelled by a fabulous John Williams score. The film misses the Spielbergian twinkle and lightness of previous episodes while borrowing from past treasures, from specific “Raiders of the Lost Ark” callbacks to a Tangier tuk tuk chase reminiscent of the “Temple of Doom” mine cart sequence. One left-field choice is the Archimedes Dial (based on the real-life Antikythera mechanism) as this movie's prize MacGuffin, which lacks the cultural significance of the Ark of the Covenant or Holy Grail but ties in nicely with the ticking clock of time for Indy (and the guy playing him).

At 80, Ford remains a top-notch action hero, and gives the aging adventurer more gravitas this go-round as Indy's hit a low point in his life. The actor even gets de-aged for the 1944 opening using special effects: It's effective most of the time, less so in the busier action bits.

'Indiana Jones': Ke Huy Quan, Harrrison Ford all smiles at 'Dial of Destiny' red carpet

More often, though, Indy feels like a supporting player next to Helena in his own story. “Destiny” creates a wonderfully conflicting duality between the twosome, as Helena reflects the Jones of “Temple of Doom” who’s all about “fortune and glory” while old Indy’s on his “it belongs in a museum!” kick. But Waller-Bridge plays her ambitions and evolving character so well that she pops off the screen in a more dynamic way. (I would absolutely watch a 1970s-set Helena Shaw Disney+ spinoff series and buy the action figures.)

Mikkelsen’s an obvious choice for a Nazi villain but more than does the job, while Antonio Banderas has a too-small role as Renaldo, an old Indy ally who helps the heroes on a deep dive into a Greek shipwreck. Familiar faces from past movies also make an appearance, including a welcome return by loyal pal Sallah (John Rhys-Davies).

“Dial of Destiny” is a solid Indiana Jones adventure that ultimately dodges the giant boulder of expectations. But as a franchise closer, it’s an anticlimactic affair that, while not a memorably rousing last crusade, at least bids Indy adieu in an emotionally satisfying fashion.

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Indiana Jones and the Dial of Destiny review – Harrison Ford does the heavy lifting in lightweight sequel

The octogenarian star gives it his all in James Mangold’s fun but formulaic action adventure co-starring Phoebe Waller-Bridge and a scenery-sucking Mads Mikkelsen

A fter scoring box-office bullseyes with Jaws (1975) and Close Encounters of the Third Kind (1977), Steven Spielberg blotted his Hollywood wunderkind copybook with 1941 (1979). A “comedy spectacular” set in the wake of the Pearl Harbor bombing (yes, really), 1941 cost nearly twice as much as Spielberg’s previous outing yet took less than a third of its box office. Chastised, the director teamed up with George Lucas on a project inspired by the serial cheapies of the 1930s and 40s. The result was the moderately priced Raiders of the Lost Ark , which promptly became the highest-grossing film of 1981, and which Spielberg later told me helped him get back to his crowd-pleasing roots.

Four decades and as many sequels/prequels later, the Indiana Jones franchise is still a money-spinner, although exponentially soaring budgets (this latest instalment cost close to $300m) have put paid to the original’s comparatively cheap and cheerful ethos. In its place we have a strange combination of cutting-edge, computer-enhanced nostalgia (Harrison Ford is digitally de-aged for flashbacks to second world war-era Europe) mixed with a string of old-but-new action set pieces involving big trains, small cars and nippy bikes – sequences that weirdly mirror this summer’s other massively expensive action franchise release, Mission: Impossible – Dead Reckoning Part One . The difference is that while MI7 looks machine-tooled to keep you on the edge of your seat, Indiana Jones and the Dial of Destiny just wants you to sit back and wallow in it.

With Spielberg no longer directing, it’s left to safe pair of hands James Mangold to crack the whip, with the help of his Le Mans 66 ( AKA Ferrari v Ford ) co-writers Jez and John-Henry Butterworth. Thankfully, Shia LaBeouf’s insufferable Mutt Williams, whom Indiana Jones and the Kingdom of the Crystal Skull (2008) had clumsily attempted to lineup as a successor to Dr Jones, is gone, his absence handily explaining why Indy finds himself alone again, naturally.

It’s the late 1960s, and the good doctor has become a bone-aching grouch, a live-action cinematic cousin of the old guy from Up . While Indy growls at retirement, the US co-opts former Nazi Jürgen Voller (a scenery-sucking Mads Mikkelsen) to aid Nasa’s moon landing efforts. But Voller has his sights on a bigger prize – the titular magical MacGuffin, which he last laid hands on back in 1944. Here, young(er) Indy and the oddball Prof Basil Shaw (Toby Jones, stealing every scene) do knockabout battle with Voller’s Nazi henchman for possession of Archimedes’s Antikythera mechanism; a two-piece contraption (crucially, you need both pieces) that can not only predict but perhaps control temporal anomalies… or something. Think Ark of the Covenant meets the Tardis. But smaller. And in two bits.

Meanwhile, back in the 60s, Basil’s daughter Helena (a clearly delighted Phoebe Waller-Bridge ) has her own monetary designs on the dial. Helena is Indy’s goddaughter, setting the stage for much lively quasi-familial bickering as everyone hotfoots it around the globe, racing to find the ancient artefact with mysterious powers that will change the course of blah, blah, blah…

According to the British Board of Film Classification’s splendidly straight-faced consumer advice, “those familiar with the series will not be surprised by the violence and the threat”, to which it might well have added: “Or indeed anything else.” There’s literally nothing here to frighten the horses or upset any applecarts, save for those knocked over during the crowded-street chase scenes. Even the preposterousness of the final act (not so much WTF? as OFFS!) seems par for the course in a series that started with Nazi faces being melted by scary angels and most recently had Dr Jones and co communing with space aliens through a multidimensional portal in the mythical city of Akator.

Instead, you’re invited to feel warm and fuzzy about reuniting with old friends (even those whose reappearance has proved divisive) and to marvel at the scenic vistas and passably unremarkable popcorn adventures, all played out to sturdy John Williams themes. Hats off to Ford, who continues a winning streak of later-life role reprisals (Han Solo, Rick Deckard), proving that whatever gruff genre appeal he possessed in his heyday has aged better than Indy’s knees. He may be 80, but Ford carries the weight of the film, which, for all its gargantuan expense, feels a bit like those throwaway serials that first inspired Lucas – fun while it lasts, but wholly forgettable on exit.

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Indiana Jones and the Dial of Destiny First Reviews: 'Safe,' 'Wacky,' 'Empty,' Critics Say

"harrison ford's performance carries the movie" and more opinions from cannes film festival critics about the latest indiana jones adventure, in which ford revisits his role as the titular hero one last time..

TAGGED AS: Film , Lucasfilm , movie , Walt Disney Pictures

Exactly 15 years after the Cannes premiere of the previous installment, Indiana Jones and the Dial of Destiny   just made its debut at the same film festival, and the first reviews have made their way online. This fifth movie in the franchise sees Harrison Ford return as the titular adventuring archaeologist, with many of his scenes set in the past using de-aging special effects.

Also along for the ride are Phoebe Waller-Bridge as Indy’s goddaughter and Antonio Banderas as a new ally, while John Rhys-Davies returns as Sallah, last seen in Indiana Jones and the Last Crusade . James Mangold directs Dial of Destiny , taking over from Steven Spielberg, who helmed the first four Indiana Jones movies.

Here’s what critics are saying about Indiana Jones and the Dial of Destiny .

(Photo by Lucasfilm)

Click image to open full poster in a new tab.

Does it live up to expectations?

“It’s fun; it’s wacky; it works.” – Stephanie Bunbury, Deadline Hollywood Daily

“We all sat down to this movie hoping for a resurgence comparable to what JJ Abrams did with The Force Awakens, and if that didn’t exactly happen, it still gets up a storytelling gallop.” – Peter Bradshaw, Guardian

“James Mangold brings the character’s adventures to a satisfying close.” – James Mottram, South China Morning Post

“If this is the final Indiana Jones movie, as it most likely will be, it’s nice to see that they stuck the landing.” – Steve Pond, The Wrap

“Unfortunately, it ultimately feels like a counterfeit of priceless treasure: the shape and the gleam of it might be superficially convincing for a bit, but the shabbier craftsmanship gets all the more glaring the longer you look.” – Robbie Collin, Daily Telegraph

“A belabored reminder that some relics are better left where and when they belong.” – David Ehrlich, IndieWire

“We have lived with worse.” – Donald Clarke, Irish Times

Where does it rank among the other Indiana Jones movies?

Ray Winstone, Shia LaBeouf, Harrison Ford in Indiana Jones and the Kingdom of the Crystal Skull (Photo by ©Paramount/Courtesy Everett Collection)

“It’s an improvement on the execrable Crystal Skull .” – David Jenkins, Little White Lies

“This one has quite a bit of zip and fun and narrative ingenuity with all its MacGuffiny silliness that the last one really didn’t.” – Peter Bradshaw, Guardian

“ Dial of Destiny feels like an old-school Indy romp, more so than 2008’s Indiana Jones and the Kingdom of the Crystal Skull , as it tries to capture the rollicking spirit of the originals.” – James Mottram, South China Morning Post

“ Indiana Jones and the Dial of Destiny may not be the finest film of the franchise, but it’s far from the worst.” – Matt Neglia, Next Best Picture

“Nobody with a brain in their heads will compare Dial of Destiny favorably to the first three films.” – Donald Clarke, Irish Times

“Four were enough.” – Robbie Collin, Daily Telegraph

What are some other comparable movies?

National Treasure (2004) stars Diane Kruger, Nicolas Cage, and Justin Bartha (Photo by Touchstone/courtesy Everett Collection)

“There are big National Treasure vibes…take from that what you will.” – David Jenkins, Little White Lies

“It could give late-vintage Fast & Furious a very, very speedy run for its money when it comes to spectacular (and spectacularly ludicrous) SFX stunts.” – Stephanie Bunbury, Deadline Hollywood Daily

How is Harrison Ford’s return as Indiana Jones?

“Ford is beyond triumphant…his performance shines in the sense that the audience can feel the deeply emotional send-off he personally is giving his character in every quip, every punch, and every heartfelt adage that comes off his lips.” – Lex Briscuso, Slashfilm

“At 80 years old, Ford himself really gives it his all, even though the role initially requires him to look like he’d rather be anywhere else.” – Robbie Collin, Daily Telegraph

“Now 80 years young, but carrying it off with humor and style and still nailing that reluctant crooked smile.” – Peter Bradshaw, Guardian

“He never loses either his scowl or his doggedness. He plays even the flimsiest scenes with conviction and dry humour. His performance carries the movie. Age cannot wither him in the slightest.” – Geoffrey Macnab, Independent

“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.” – David Rooney, Hollywood Reporter

What about Phoebe Waller-Bridge’s new character?

“She is gratifyingly badass.” – Stephanie Bunbury, Deadline Hollywood Daily

“Like Karen Allen’s Marion in the first film, a Howards Hawksian woman.” – John Nugent, Empire Magazine

“Phoebe Waller-Bridge has a tremendous co-star turn as Indy’s roguish goddaughter.” – Peter Bradshaw, Guardian

“Waller-Bridge has clearly been given the instruction to ‘just do Fleabag ’ but she’s operating without Fleabag -level material here, and her frequent attempts to juice up the clumsy gags with her trademark winking delivery tend to fall flat.” – Robbie Collin, Daily Telegraph

“While Phoebe Waller-Bridge, of Fleabag fame, makes her saucy, spiky, and duplicitous in a cheeky way (she’s like the young Maggie Smith with a boatload of attitude), we never feel in our guts that Helena is a chip off the old Indy block.” – Owen Gleiberman, Variety

How are the movie’s villains?

Mads Mikkelsen (left) and Thomas Kretschmann (far right) in Indiana Jones and the Dial of Destiny (Photo by Lucasfilm Ltd.)

“As Jürgen Voller, Mads Mikkelsen is enjoyably hissable.” – John Nugent, Empire Magazine

“Mikkelsen, flanked by some heavies including Boyd Holbrook, is an excellent adversary.” – James Mottram, South China Morning Post

“He’s an infuriating villain, one that feels both menacing and overwhelming in his brutish intelligence — the kind of adversary it seems impossible to defeat, and thus the perfect final match for the one and only Indiana Jones.” – Lex Briscuso, Slashfilm

“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.” – David Rooney, Hollywood Reporter

“Mads Mikkelsen, with his lizard scowl and his shiny metallic hair, doesn’t play Voller as a realistic character. He’s a leering megalomaniac out of central casting.” – Owen Gleiberman, Variety

“Unfortunately, what we get is the pantomimic, hubristic, goose-stepping version of the Nazis.” – David Jenkins, Little White Lies

Are the action scenes worth the price of admission?

“The action is often very inventively staged. James Mangold, who has taken over directing duties from Steven Spielberg, sets a breakneck tempo.” – Geoffrey Macnab, Independent

“A bit involving a very heavy bomb is worthy of any movie this franchise has ever produced.” – David Ehrlich, IndieWire

“There are plenty of jolly chases, including a tuk-tuk vs classic Jag event in the narrow streets of Tangier.” – Peter Bradshaw, Guardian

Harrison Ford in Indiana Jones and the Dial of Destiny (Photo by Jonathan Olley/Lucasfilm Ltd.)

“The action is generic and clunkily staged – for all the local detail in every individual shot of the heavily advertised tuk-tuk chase, it might as well be taking place on an endless conveyor belt.” – Robbie Collin, Daily Telegraph

“Endless action sequences can become so flabbily overblown they lose any punch, but [Mangold] is never anything but brisk.” – Stephanie Bunbury, Deadline Hollywood Daily

“Like virtually all action sequences these days, this one suffers from the fact that visual effects can do pretty much anything, which tends to strip away any sense of surprise, novelty or even high stakes, no matter how frantic and extravagant things get.” – Steve Pond, The Wrap

“[They] utilize too much (far too much) of the era’s computer-generated imagery.” – Donald Clarke, Irish Times

Does it otherwise look good?

Boyd Holbrook in Indiana Jones and the Dial of Destiny (Photo by Lucasfilm Ltd.)

“The recreations of the 1960s vistas are gorgeous.” – Donald Clarke, Irish Times

“There’s no shot here, nor twist of choreography, that makes you marvel at the filmmaking mind that conceived it.” – Robbie Collin, Daily Telegraph

“The climax of the film…looks washed out and sallow.” – Richard Lawson, Vanity Fair

Is the script satisfying?

Harrison Ford, Mads Mikkelsen, and Toby Jones in Indiana Jones and the Dial of Destiny (Photo by Lucasfilm Ltd.)

“The plot is hokum of the cheesiest hue, but the screenwriters know that hokum is the mulch in which this franchise germinates.” – Donald Clarke, Irish Times

“The screenplay does provide a few big laughs.” – Jo-Ann Titmarsh, London Evening Standard

“The screenplay sometimes seems like a mish-mash of elements from the older movies thrown together in scattergun fashion.” – Geoffrey Macnab, Independent

“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.” – John Nugent, Empire Magazine

“One can feel the four credited screenwriters grasping at inspiration and coming up short.” – Richard Lawson, Vanity Fair

“Considering that the screenplay is credited to four writers, couldn’t they at least have thought of something cool for Indy to do with his whip?” – Nicholas Barber, BBC.com

Does it lean too much on nostalgia?

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

“It contains lots of satisfying fan service, from old friends popping up, to familiar situations unfolding in different ways.” – Steve Pond, The Wrap

“Just hearing John Williams’ score, yet another variant on the heroics and theatrics of the original, makes anyone of a certain age feel that everything is momentarily right with the world.” – Stephanie Bunbury, Deadline Hollywood Daily

“This is an exercise in affectionate nostalgia.” – Geoffrey Macnab, Independent

“At least this film’s easy nostalgia has some meta-textual purpose behind it.” – David Ehrlich, IndieWire

“The film just about gets a passing grade for not going too heavy on the nostalgia-porn fan service.” – David Jenkins, Little White Lies

Is Steven Spielberg missed?

“The missing component is Steven Spielberg, for as talented as a director James Mangold is, he cannot measure up to the cinematic brilliance that Spielberg imbues into each of his projects.” – Matt Neglia, Next Best Picture

“James Mangold, tasked with living up to a fearsome legacy, is competent with an action set piece, but displays little of Spielberg’s nimble, inventive physics, or of Spielberg’s famous gift for conjuring awe.” – Richard Lawson, Vanity Fair

“It’s content to tick off everything you’ve seen in other Indiana Jones films already, but with little of Spielberg’s sparkle.” – Nicholas Barber, BBC.com

“The biggest (or at least most evident) difference between Spielberg and Mangold is that one of them would never have allowed himself to make anything this stale, and one of them probably wasn’t given any other choice.” – David Ehrlich, IndieWire

Are there any other major issues?

Phoebe Waller-Bridge in Indiana Jones and the Dial of Destiny (Photo by Lucasfilm Ltd.)

“As the film goes on, the focus on uninteresting puzzles becomes a bit tedious.” – Donald Clarke, Irish Times

“Tonally, the film wavers. It pulls in too many different directions at once.” – Geoffrey Macnab, Independent

“One problem is the title relic, a curio of Ancient Greek lore rumored to give its possessor the power of time travel… Dial of Destiny ’s digression from holiness, though, is less than inspiring.” – Richard Lawson, Vanity Fair

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Indiana Jones and the Dial of Destiny Reviews

But "better than Crystal Skull" is a miserably low bar to clear. Dial's plot is surprisingly dumb, considering it took four screenwriters (including David Koepp and director James Mangold) to write it.

Full Review | Original Score: 2.5/5 | Jan 25, 2024

I think you can find fun here. I think you can find good here. It's just not going to turn you around if you come in thinking it's a bad idea.

Full Review | Jan 12, 2024

Dial of Destiny is a fun ride, especially for moviegoers like me who just want to enjoy some nostalgia as we contemplate a retirement full of watching all those films we’ve collected over the years.

Full Review | Dec 30, 2023

There's a lot that's fun here... but the more you look at the CG, the more it looks like The Polar Express.

Full Review | Original Score: 7/10 | Dec 27, 2023

There wasn't a world wherein this film would capture the greatness of the original trilogy but it's nice to see Indy and his compatriots sent off in fine, if unspectacular, fashion.

Full Review | Original Score: A- | Dec 27, 2023

At the end of the day, Indiana Jones and the Dial of Destiny may not be the best installment of Indiana Jones, but it certainly fits perfectly within the saga, committing to its characters and its essence. [Full review in Spanish]

Full Review | Original Score: 7/10 | Dec 26, 2023

A beautiful send-off for this character.

Full Review | Original Score: 4/5 | Dec 20, 2023

He steps back into that fedora not like he’s never left it, which is the point. He meets his character where he actually is – old, alone, grieving.

Full Review | Original Score: 3.5/5 | Dec 20, 2023

And while the story is bombastic, is still better than aliens. With that in mind, I'll give the film a B-, its not perfect, but if you settle in, you can enjoy one last adventure.

Full Review | Original Score: B- | Nov 13, 2023

Despite the weirdly ambivalent headlines and mixed reviews dogging this film since its bow at Cannes, this is one of the most consistently enjoyable legacy sequels of recent years.

Full Review | Nov 10, 2023

It’s fun; it’s wacky; it works.

Full Review | Oct 25, 2023

The final Indiana Jones entry is actually near the top of what is a usually dismal filmic phenomenon: closing chapters of long-running action vehicles. But what's missing is any sense of urgency in the story, or any sense of charisma from Ford himself.

Full Review | Oct 16, 2023

has enough throwback charm, humor, and attention to character that it comes close to earning its spot in a franchise that frankly should have ended with Indy riding off into the sunset in Last Crusade

Full Review | Original Score: 3/4 | Oct 8, 2023

Without Spielberg, Indiana Jones and the Dial of Destiny is just a professional and innocuously pop-corn movie: a compilation of "greatest hits" by an emblematic character of a type of cinema that is fading away. [Full review in Spanish]

Full Review | Original Score: 2.5/4 | Oct 3, 2023

It may have squiffy CG, a perhaps too extended opening, and repetitious set pieces of evasion and capture, but Mangold sticks the emotional and thematic landing ...

Full Review | Original Score: 4/5 | Sep 29, 2023

The acting throughout “Indiana Jones And The Dial Of Destiny” is solid and the special effects are, as expected, state of the art. Composer John Williams is present for the musical thrills.

Full Review | Sep 25, 2023

This a movie for the nostalgia-minded. Between the score and extensive de-aging of Harrison Ford from 79 years to 37, it’s as if we weren’t 42 years from Raiders of the Lost Ark and we can almost feel like we’re watching installments filmed back to back.

Full Review | Original Score: 3/5 | Sep 23, 2023

Dial of Destiny manages to be the complete opposite — the rare legacy sequel content with simply saying goodbye. Telling a poignant story about our relationship with nostalgia and how attempts to cling to the past prevent us from living in the present.

Full Review | Original Score: A | Sep 14, 2023

Indiana Jones and the Dial of Destiny is cluttered and visually problematic, but never hopeless.

Full Review | Sep 5, 2023

The terrible final act torpedoes any chance of this film being deemed worthy of the franchise.

Full Review | Original Score: 2.25/5 | Sep 2, 2023

Home » Movies » Movie Reviews

Indiana Jones and the Dial of Destiny (2023) Review

Here is our review of the 2023 film Indiana Jones and the Dial of Destiny, which does not contain spoilers.

Indiana Jones and The Dial of Destiny , and the 2008 movie featuring aliens, can be seen as almost remakes rather than sequels. That’s because technology has drastically improved since the original trilogy.

What those films accomplished was simple—they took the 1940s adventure B-movie and infused it with a spiritual quality that never felt out of reach or beyond the realm of possibility.

The reason is that the first three films were created in a world where generations still held strong religious beliefs. Regardless of how supernatural those movies are, most believed in religion and even higher power.

However, the latest iteration of the archaeologist professor, sporting his trademark brown fedora and holding his weathered whip, has fallen victim to technological advancements.

It enters realms of extraterrestrials and time travel and loses the effect of tangible discovery.

Indiana Jones and the Dial of Destiny Review and Plot Summary

Initially billed as the final chapter of the Indiana Jones films, this installment returns to what made the originals classic. The advancements in technology work in favor of the viewers, allowing an immersive world created for the maverick archaeologist.

Utilizing the de-aging technology used by The Irishman , we are treated to a young Indy ( Harrison Ford ) again taking on the Nazis.

Near the end of World War II, James Mangold’s film delivers an exhilarating homage to classic old-style Hollywood adventure scenes. In one memorable sequence, the original “nerd” sex symbol, Indy, assists his partner Basil Shaw ( Toby Jones ), in escaping the Nazis on a train (great movie title). The plot revolves around “Dial of Destiny,” an artifact that may possess the power to alter history.

And that’s all great stuff akin to great Indiana Jones film openings in the past. Led by a German scientist named Voller ( Mads Mikkelsen ), the three fight for the power of the artifact, and the film has a childlike wonderment, like when you watched Raiders of the Lost Ark for the first time.

The film continues that clever adventure and humor when the story picks up decades later with a thrilling chase through the streets celebrating America’s attempt at a moon landing.

The performances are excellent, including Ford, who plays Indy, now retiring and going through a divorce. Another great addition, and possible spinoff character, has Basil’s daughter Helena ( Phoebe Waller-Bridge ) pop in for a visit.

Government officials, who have recruited Nazi scientists for NASA, are actively tracking her because she may know the location of the artifact’s other half.

Is Indiana Jones and the Dial of Destiny good or bad?

Indiana Jones and the Dial of Destiny starts as a good movie but falls into a bizarre tone-deaf third act that takes away most of the goodwill. I won’t give away the film’s twist, but this stumble is the issue of this chapter juggling between filmmakers.

Particularly the transition from Spielberg and his loyal Scribe David Koepp to James Mangold and the writing team from Ford v Ferrari .

Is Indiana Jones and the Dial of Destiny worth watching?

Indiana Jones and the Dial of Destiny i s worth watching by diehard franchise fans, who will surely leave disappointed. The film suffers from having to write out Shia LaBeouf’s character and misses a golden opportunity that would have made the film work much better in reuniting them.

Also, a big cameo at the end feels forced, again giving the story little closure.

What did you think of the 2023 film Indiana Jones and the Dial of Destiny? Comment below.

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Article by Marc Miller

Marc Miller (also known as M.N. Miller) joined Ready Steady Cut in April 2018 as a Film and TV Critic, publishing over 1,600 articles on the website. Since a young age, Marc dreamed of becoming a legitimate critic and having that famous “Rotten Tomato” approved status – in 2023, he achieved that status.

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• DVD & Streaming

Indiana Jones and the Dial of Destiny

• Action/Adventure , Drama , Sci-Fi/Fantasy

Content Caution

In Theaters

• June 30, 2023
• Harrison Ford as Indiana Jones; Phoebe Waller-Bridge as Helena; Ethann Bergua-Isidore as Teddy; Mads Mikkelsen as Dr. Voller; Karen Allen as Marion; Boyd Holbrook as Klaber; Antonio Banderas as Renaldo; John Rhys-Davies as Sallah; Toby Jones as Basil Shaw; Olivier Richters as Hauke; Shaunette Renée Wilson as Mason

Home Release Date

• August 29, 2023
• James Mangold

Distributor

• Walt Disny Studios Motion Pictures

Movie Review

It’s 1936, and a youngish archaeologist named Indiana Jones is about to be buried alive in an ancient Egyptian tomb. His nemesis, Belloq, gloats from above. Recalling an earlier conversation they had over the value of a dime-store pocket watch after a thousand years, Belloq offers a cutting quip.

“You’re about to become a permanent addition to this archeological find,” Belloq says. “Who knows? In a thousand years, even you may be worth something.”

It’s 1969, and luckily, Indiana Jones wasn’t buried alive after all. He is, however, getting—and feeling—older by the day. Only he doesn’t feel like he’s gaining value. He feels as though he’s losing it.

Forget the days when underclassmen would write “love you” on their eyelids and blink slowly in the handsome Dr. Jones’ direction. When his students shut their eyes these days, it’s to take a quick nap. Forget the years when he came back to a home filled with love and family: His only son, Mutt, died in Vietnam. His relationship with wife, Marion, was wrecked by the grief, and she left him.

The man who survived the blood of Kali? Who braved the most devious of medieval traps? Who ran pell-mell from a gigantic boulder and nonchalantly brushed tarantulas from his leather coat? That man is 30 years gone. A big adventure these days might be more fairly called Indiana Jones and the Afternoon Nap .

Or so it would seem.

But then, on the day of his retirement, a familiar figure walks through his classroom door: Helena Shaw, Indy’s goddaughter. She’s after the Antikythera, an ancient Greek construct that was her father’s obsession. What does it do? No one really knows. The technology it represents shouldn’t, technically, exist for another thousand years. But Helena’s dad—in his crazed, waning days—thought that it might be able to manipulate time . 

Whatever it does, its Greek creator (the famed Archimedes) thought it was so powerful that he broke the thing in half.

Indy has one part of the Antikythera: Helena wants his help in finding the rest. Or so she says.

But she’s not the only one after the fabled mechanism: Dr. Voller, once-and-future Nazi, has his eyes on the prize, too. And you can guarantee that the bespectacled baddie has his own plans for it.

Nazis. We hate those guys.

Positive Elements

We can’t quibble with stopping Nazis. And, as we all know, Indiana Jones (for all his faults and occasionally questionable choices) has stopped more than his fair share. The stakes are high this time around, because even though Germany lost the war, Dr. Voller is scheming to make everything … Reich.

Helena’s not the do-gooder that Indy is. She’s on this particular quest for (as Indiana Jones himself once said) fortune and glory. Or so she says, at least. Indy sees something more in her, though: A desire to connect with her late father. She develops a real attachment to her godfather, too.

Helena also serves as a guardian/friend/mentor to a teen named Teddy. Now, their relationship is hardly perfect, given that it’s based on stealing and cheating and all sorts of bad behavior. But Helena has managed to keep Teddy relatively safe and off the streets, and she might be the closest thing to a mother/friend that Teddy’s ever had. And when things get particularly dangerous, we see the lengths that they’ll all go to save one another.

We also see some nice messages about friendship, marriage and reconciliation.

Spiritual Elements

When the movie opens in flashback (during the final days of World War II) we see that Indiana and his friend, Basil Shaw, are after another biblical relic. The Nazis have in their possession the Lance of Longinus—the spearhead that pierced Jesus’ side during His crucifixion—and Indy and Basil are attempting to liberate it.

The spear is revealed to be fake (though we see it again in a later scene).

The Antikythera, meanwhile, is very much real and (again in flashback) very much in Nazi hands. We hear that if the ancient dial finds its way into Hitler’s hands, “He will be God.”

We hear that Archimedes was a “mathematician, not a magician.” Indy says that he doesn’t believe in magic, but he does allude to his many experiences that he can’t explain. He’s come to the conclusion that “It’s not so much what you believe; it’s how hard you believe it.”

A picture of Christ is seen hanging on a wall. A Bible reference (Philippians 22) is scrawled on a subway wall. A Catholic statue makes its way through a Sicilian street. Indy alludes to earlier adventures, including drinking the blood of Kali. (The name refers to the Hindu goddess of death, and the blood itself apparently held magical powers.)

Sexual Content

Helena wears a top that reveals a bit of midriff. She was also engaged to a violently lovelorn mafia don. Indy walks around shirtless and in his skivvies. A couple shares a kiss or two.

Violent Content

The violence in Dial of Destiny isn’t as gross as we’ve seen in previous Indiana Jones adventures: No melting faces, no monkey brains, no one gets chopped up by airplane propellers. But the body count is quite high.

We can “thank” the opening flashback for a great many fatalities. Cars and motorcycles crash and fly around, killing and sometimes throwing free their occupants. On a train, a huge machine gun goes haywire (thanks to the sudden demise of its operator) and shoots dozens of people (most of whom fall off the train). Several folks are killed via handgun, too. A guy is killed a bit grotesquely while on the top of said train.

Several people—many of them entirely innocent—are flat-out murdered in the film. One or two are shot in the back as they try to run. One man is handcuffed to something underwater and presumably drowns. Another person nearly drowns, as well. Bullet lead flies frequently, often finding fleshy termination. (Not everyone dies from these gunshot wounds, but many do.)

People are killed via arrows and (more grotesquely) gigantic harpoons. Cars crash. Planes crash. Trains crash. Bridges collapse. Boats are dynamited. We see several corpses. Punches upon punches are thrown. People are threatened. Various vehicles careen in disturbingly unsafe ways. Indy says that he’s been shot nine times. We hear that Indy’s son died in the war.

Characters must brave eels (which can, and do, issue a painful bite), tarantulas and giant centipedes.

Crude or Profane Language

We hear several misuses each of “d–n” and “h—.” Language such as “crap” and “p-ss” is also used. God’s name is misused three times, once with the word “d–n,” and Jesus’ name is abused once. A racial slur is used.

Drug and Alcohol Content

Indiana’s first scene in 1969 finds him in his apartment, empty bottles strewn about. After Indiana retires, Helena finds him in a nearby bar, drinking. She joins him, and she tries to encourage him to join her quest over glasses of whiskey. He spikes his coffee with a bit of liquor from a flask. The consumption of liquor is fairly common throughout.

Characters—especially Nazis—also smoke. Voller often puffs on cigarettes, while another character chomps on a cigar.

Other Negative Elements

Teddy is a skilled thief. Helena tells Indy that they actually met when Teddy tried to steal her purse. He swipes several possessions during the film, including some money from a couple of Italian kids who made fun of his clothes. While he’s often forced to give the stuff he steals back, he uses that money to buy ice cream.

Helena lies frequently and steals the Antikythera. (She calls it “capitalism.”) She also calls out Indy for his questionable archaeology—saying he’s more a tomb robber than noble scholar. We hear that Indy broke a promise to a friend.

We learn that the American government has shielded an ex-Nazi from prosecution and put him on the payroll, using his expertise to help win the Space Race. (It seems that they’re willing to let a great many things slide when it comes to the behavior of him and his ever-present attaches, but his CIA handler will only go so far for him.)

There are references to blackjack and gambling debts.

Indiana Jones’ adventures have always been, in a way, about time. A 3,000-year-old ark. A 2,000-year-old cup. Stones too ancient to guess. With each new exotic setting, Indy and his friends dive into the dirt of history, peeling away pages of time.

Paradoxically, time has always seemed on the verge of running out on Indy, too. The torch fades. The tank trundles to the edge of the cliff. Even though he’s after such timeless artifacts, Indy always needs to do something right now , before the boulder catches up to him.

On one hand, Indy deals in eons. In the other, seconds.

It seems altogether fitting that Indiana Jones and the Dial of Destiny deals so explicitly with time and the desire to turn it back. Here, we can feel the weight of time not just on Indiana Jones’ adventure, but on Indy himself.

Turns out, he didn’t need to worry about the careening boulder. The thing that threatens to crush Indiana Jones is the sands dropping through the hourglass, one grain at a time.

And yet he still has something to say. And do.

Indiana Jones and the Dial of Destiny is no Raiders of the Lost Ark . Like Indy himself, the franchise is well past its prime. But it is a reasonably entertaining adventure story that is far better than Kingdom of the Crystal Skull (the franchise’s midlife crisis, perhaps?) and comes with, if not a treasure, at least a keepsake. A bittersweet poignancy at its core. And while it loses its way sometimes in its own convoluted story, it still boasts heart.

Of course, any archeological dig turns up plenty of unwanted detritus, and Dial of Destiny is no different. You’ll turn up shovelfuls of muck: foul language, irresponsible behavior, drinking, smoking and, of course, tons of violence. Nope, the Indiana Jones franchise didn’t turn all sweet and innocent while you weren’t looking.

But compared to some of the previous installments, the Dial of Destiny does dial the content back—just a touch. So maybe Dr. Jones did mellow in his old age.

Paul Asay has been part of the Plugged In staff since 2007, watching and reviewing roughly 15 quintillion movies and television shows. He’s written for a number of other publications, too, including Time, The Washington Post and Christianity Today. The author of several books, Paul loves to find spirituality in unexpected places, including popular entertainment, and he loves all things superhero. His vices include James Bond films, Mountain Dew and terrible B-grade movies. He’s married, has two children and a neurotic dog, runs marathons on occasion and hopes to someday own his own tuxedo. Feel free to follow him on Twitter @AsayPaul.

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Indiana jones and the dial of destiny, common sense media reviewers.

Entertaining fifth Indy movie has some shocking violence.

A Lot or a Little?

What you will—and won't—find in this movie.

Ingenuity, courage, teamwork, and trying to do the

Indy is brave, resourceful, loyal, and smart, and

The two primary characters -- Indy (Harrison Ford)

Frequent peril/danger, lots of guns and shooting,

Woman spies shirtless man (one of a couple seen on

Occasional language includes uses of "damn" and "d

A character drinks a bottle of Coca-Cola. Coca-Col

Fairly frequent drinking: Indy spikes his morning

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,…

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.

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.

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.

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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."

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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.

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.

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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, 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.

Community Reviews

• Parents say (15)
• Kids say (18)

Based on 15 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 : December 6, 2023

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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.

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Jason's Movie Blog

A movie blog for movie reviews, trailers, and more.

Indiana Jones and the Dial of Destiny (2023) Review

DIAL “M.A.” FOR MILDLY ADEQUATE

Archaeologist, historian, and adventurer are some of the characteristics that are commonly used when describing the fictional character of Indiana Jones. An icon in his own right and has been parody, mimic, and unmistakable illusions, the character of Indiana Jones was created by Star Wars creator George Lucas and, with the help famed director Steven Spielberg, the pair began to draw up plans for an action-adventure film that blended classic movie serials of the 1930 and 40s with historical discovery and intrepid escapism. The result fully materialized in 1981 with the release of Indiana Jones and Raiders of the Lost Ark , with Spielberg directing, Lucas providing the story, and Star Wars actor Harrison Ford playing the titular protagonist. The film followed the exploits of a globetrotting archaeologist, who is vying with Nazi German forces to recover the long-lost Ark of the Covenant. The success of Raiders of the Lost Ark was highly praise and was met with critical success, with many finding favor with the film’s modern take on the serial genre, it’s action and adventure aspects, and the movie’s cast, including Ford. From there, a series was built around the Indy with two follow-up sequels being released in the 1980s, including Indiana Jones and the Temple of Doom (set as a prequel before Raiders of the Lost Ark ) in 1984 and then Indiana Jones and the Last Crusade in 1989; both featuring the return of Spielberg, Lucas, and Ford in their respective roles. Thus, this so-called “trilogy” for Indiana Jones was widely considered to be one of the more celebrated trilogy films ever made, with releases and remastered version coming to light every so often for the past decades as well as its influence towards imitators in pop culture media facets throughout the years. Years later, a fourth installment was released titled Indiana Jones and the Kingdom of the Crystal Skull in 2008, with (yet again) Spielberg, Lucas, and Ford returning to their dutiful posts on the project. Unfortunately, despite bring in a large sum (near $800 million) at the box office worldwide, Kingdom of the Crystal Skull was met with some indifference, with many finding it to be weakest (and inferior) to the original three as well as criticizing the dialogue, story, pacing, and overusage of CGI effects. Now, fifteen years after the release of Kingdom of the Crystal Skull, Walt Disney Studios (as well as Lucasfilms) and director James Mangold prepare to see Dr. Jones go off on one more daring adventure in the fifth installment of the franchise titled Indiana Jones and the Dial of Destiny . Does this final adventure Indy worth seeing or is it an unnecessary and flat swansong for everyone’s favorite archaeologist?

The year is 1969 and Indiana Jones (Harrison Ford) is tired and lone, turning to booze to deal with his life issues, including facing retirement from his academic teachings. Returning into his life is Helena Shaw (Phoebe Waller-Bridge), Indy’s goddaughter and like-mind of collector of antiquities, interested in retrieving found half of the Antikythera, an ancient Greek device created by Archimedes himself, which Indy picked up in 1944 after battling with the Nazi, thwarting the efforts one German physicists Jurgen Voller’s (Mads Mikkelsen) nefarious plans. Currently, Voller has returned to power due to his participation in the American space program, joined by loyal henchmen Klaber (Boyd Holbrook), setting out to collect the fabled dial and its other half, which was lost long ago. Going after Helena, Indy is pulled into the hunt for the dial, teaming up with the rambunctious woman, who’s assisted by the young and impressionable Teddy Kumar (Ethann Isidore). As the quest for the Dial of Destiny ensues, the trio chart a course for adventure and mystery as Indy faces his toughest challenge yet and tries to reach the legendary object for it falls into the hands of Voller’s dangerous hands.

THE GOOD / THE BAD

Indiana Jones…..that’s definitely a name that many know. While the character is a fictional individual, the name itself speaks volumes to all…..an archegloist….an adventurer….historian relic finder…..Harrison Ford. In truth, it’s all. The Indiana Jones features have endured a timeless respect (well, most of them), with the original trilogy being one hailed as one of great films released during the 80s, especially Raider of the Lost Ark . Furthermore, the franchise itself has become quite iconic within its own right, which (as stated in my opening paragraph) has taken a life of its own within popular culture and imagery and likeness of character that has been a staple in various media facets and productions. I remember growing up and seeing many Indiana Jones inspired characters appearing in cartoons and TV shows as a parody (hat and whip in hand) as well characters that are of a similar nature…..something akin to Nathan Drake from the Uncharted video games. Of course, I believe that the first film ( Raiders of the Lost Ark ) to be the best installment and one of my personal favorites of the series. It’s definitely the “best of the best” of what the saga wants to embody, with plenty of action thrills and historical adventure within a “larger-than-life” character as well as few spooky moments (the whole melting of the faces). Perhaps my second favorite would be Last Crusade , which was actually my first introduction to Indiana Jones. Of course, I did like whole quest for the Holy Grail and seeing Ford alongside Sean Connery in the film was definitely a treat. My least favorite of the original trilogy was Temple of Doom , but I still like it and definitely has its merits. As for Kingdom of the Crystal Skull …..I felt that it was quite underwhelming. Yes, there were moments that I liked, but the whole endeavor felt undercooked and rather silly at times. The trending into more sci-fi realm of aliens, the ridiculousness of monkey swing scene, and the unlikeable nature of Shia LaBeouf’s Mutt Williams in the movie was quite off-putting. I think I only remember watching the movie twice….and that’s it. In the end, despite the misgivings that Kingdom of the Crystal Skull , the Indiana Jones franchise has (by and large) remains an extremely celebrated series, with memorable moments from its cinematic narrative daring action and historic adventure that’s led by a charismatic archaeologist that has become legendary himself.

This brings me back around to talking about Indiana Jones and the Dial of Destiny , a 2023 action-adventure film and the fifth (and supposedly) final installment of Indiana Jones series. With the box office results for Kingdom of the Crystal Skull , it was a forgone conclusion that a fifth entry in the popular adventure series would eventually materialize. However, given the mixed thoughts and opinions on the fourth Indiana Jones, it was bit confusing as to when and how the next chapter would play out and how it would be received. For years, there were talks of the next Indiana Jones movie, with little tidbits and rumors circling around the internet and for comments on Spielberg / Lucas being touched every now and again. Some were saying that Ford didn’t want to another one, some say he did, some say that Lucas wanted to take franchise in a new direction, and some even claimed that the entry would feature LaBeouf’s Mutt Williams as the main lead (taking over for Ford). Thankfully, that last one never materialized. So, the idea of a next film would be bounced around for years, with the one being officially announced in 2016, with a release date set for 2019. Unfortunately, the project was delayed due to rewrites and then due to the COVID-19 pandemic, before it was set to be finally be released on 2023. Perhaps the most interesting aspect is that Spielberg noted that he wouldn’t be directing the new film as well as Lucas stating that he wouldn’t be writing the feature’s story, which marks the first in the series. Yet, Spielberg would still be involved on the project, but more as an executive producer. Still, Ford himself stated that he wanted to do one last Indiana Jones film sometime after the release of Kingdom of the Crystal Skull , so it was terrific to see that seasoned veteran actor announcing that the he would be back for this latest Indy adventure. Then, with all the news tidbits, rumors, and casting announcements, the excitement towards what “Indy 5” would bring. Soon after, the film’s movie trailers began to materialize in both online and in theaters during the “coming attractions” previews. From the trailer alone, the movie looked to be quite promising and looked to try to rectify the mistakes made in the previous installment. Plus, it was great to see Ford back in the iconic role. All in all, I was quite excited to see what Indiana Jones and the Dial of Destiny when it was set to be released on June 30 th , 2023. I did see it during its opening weekend and waited a few days after its release to collect my thoughts on the film. And what did I think of it? Well, it was both good and bad, but mostly a tad underwhelming. While the feature does aim to trigger that nostalgia feeling through its direction, action, and production value, Indiana Jones and the Dial of Destiny ends up being a fairly generic blockbuster action-adventure romp that, while entices viewers with another Indy flick, stumbles in plotting point, uneven pacing, and muddled third act. To be sure, it’s not the worst film in the series (that honor still belongs to Kingdom of the Crystal Skull ), but it doesn’t come close to outmatch the brilliance cinematics made in the original three films.

Indiana Jones and the Dial of Destiny is directed by James Mangold, whose previous directorial works includes Logan , Walk the Line , and Ford v Ferrari . Given his background on working on film projects that have a wide range of movie genres such as psychological dramas, biographical pics, superhero movies, sports flicks, and westerns features, Mangold does seems like an unusual choice to helm such a project like an Indiana Jones film, which is more considered to be a blockbuster tentpole. Naturally, Mangold is up to the task and certainly does give a good and healthy dose of spiritual influence from the past endeavors to make his iteration of Indiana Jones worth seeing. Of course, this only half works, but I’ll go into more detail about the negatives latter on in my review. For the positives, I felt that Mangold knows what viewers want out of an Indiana Jones film and gives it to them by righting some of the wrongs and misgivings that Kingdom of the Crystal Skull presented. For this, there isn’t that many of what I call “silly” moments in the film and keeps more to how the original three films were presented, which is quite good. Yes, the characters and dialogue are a little “broad” at times, but I think that’s part of the nature of an Indiana Jones feature. The adventure nuances that Mangold interjects in the film are good and help build upon that nostalgia feeling that easily coast throughout the entire picture. The thrill of escapism and fun adventure chasing and ancient ruins spelunking are in full force, which helps capture the spirit of excitement.

For it’s action, Mangold does certain stage several great moments throughout Dial of Destiny , with the director finding a decent balance of walking between today’s nuances of action stunts and thrills and keeping in the tradition / spirit of an Indiana Jones style. The result is something that does work, though a few hiccups do occur. Still, what’s presented is enjoyable and entertaining, including a flashy opening sequence (that really encompasses the classic Indiana Jones adventure) as well as a chase sequence through a ticker tape parade in the streets of NYC. In the end, while not exactly the absolute best of what this anticipated project could’ve been (definitely need a better polish), Dial of Destiny still manages to make a somewhat decent outing for a nostalgia feeling of Indiana Jones escapism, with Mangold channeling the fun and adventure of treasure hunt across the globe.

Of course, this brings around to talking about the CGI effects in the movie, especially in the opening scene that uses the “de-aging” effect on Harrison Ford to make Indiana Jones look younger. The particular usage of visual effects has become more and more utilized of late and has always had mixed results, which is mostly due to the whole “uncanny valley” effect that viewers get. Personally, it didn’t bother me as much because I knew it was going to be like how it was, especially after seeing this technique play out several times before in other projects, and did provide the visual look of a younger Dr. Jones in 1944. Of course, there are those who will draw criticisms towards this usage (even with a larger production budget) that many will find off-putting right from the get-go. So, it’s both a give and take on the viewer’s preference. Just a word of caution out there.

For its presentation, Dial of Destiny definitely looks quite expensive and lavishing from beginning to end. Of course, this noticeably has been written for quite some time, with many advance reviews and movie tidbits stating the current Indiana Jones flick had a production value of a whopping $295 million, which is not only the most expensive Indiana Jones film, but also the join the elite list of one of most expensive films ever made. While that number is quite high and I don’t think it was utilized the maximum effort, the end result is something still quite visually striking throughout the entire picture. Everything in the film’s setting is quite beautiful and has a very cinematic feeling that has the surreal picture-esque quality….whether the racing through the streets of New York City during the ticker-tape parade for Apollo 11 or the 1944 German fortification / train locale during the film’s opening. Thus, the film’s “behind the scenes” key players, including Adam Stockhausen (production design), Anna Pinnock (set decoration), Joanna Johnston (costume design), and the entire art direction department, should be praised for how detailed and intricate everything looks. Regardless of how people feel about this movie, there is no denying that the film’s background setting and visual presentation looks solid across the board; a sure blockbuster tentpole endeavor through and through.

Plus, the cinematography work by Phedon Papamichael is quite good and help build up some of the more dramatic / cinematic moments throughout the feature and definitely has a feeling of blockbuster flair in and out of the adventure. Lastly, the film’s score is composed by legendary composer John Williams, who has previously scored all the music for all the Indiana Jones films. Williams is still a fantastic musician and his part in Dial of Destiny is indeed a welcome one, especially since he created the iconic Indiana Jones theme that everyone knows of, which (of course) is quite present in the film in different motifs and melodies. Even looking beyond that, William’s score is all the way around a good soundtrack and definitely “hits the mark” for a lot of nuances that are usually customary for an Indiana Jones project, with loud and boisterous compositions of adventure and suspense and soft pieces to company dialogue moments. All in all, it was great to see (or rather hear) Williams attached to this project and help “carries the journey” of Indiana Jones for one last hurrah.

Unfortunately, Dial of Destiny just doesn’t measure exactly to its original trilogy, with the latest film drawing criticism that are both frustrating and glaring throughout. Perhaps the most prevalent one that everyone can agree on is that the film itself lacks the “Spielberg” magic that, barring Kingdom of the Crystal Skull, the previous entries were able to achieve. Perhaps such excitement of original trilogy releases stemmed from the time period era of which these movie were made…..during the 80s. There is no doubt about it that the first three Indiana Jones features were a product of the 1980s of filmmaking, which allowed for more all those classic nuances and touches that movies were known for. How villains portrayed, how action sequences are handle, how the good guys appear “larger-than-life”, and several spooky imagery. It’s quite hard to describe to its fullest extent, but the Indiana Jones original trilogy was quite the experience that capture the filmmaking of the 80s style. Perhaps that was one of the problems with Kingdom of the Crystal Skull and sure does find them problem yet again in the Dial of Destiny . While Mangold and his team do recreate some of the nostalgia feeling (and in a few pockets manage to do so), the end result is something that lacks the precision, style, and flair of the original trilogy and possible even (to a certain degree) the guiding / steadfast directing of Spielberg. Again, it’s quite hard to pinpoint things of this caliber, but it is quite noticeable throughout. Thus, the so-called “magical spark” of the earlier works of the Indiana Jones films is missing from Dial of Destiny and lacking a certain cinematic tenacity. Like the character himself, the film is out of touch with the new reality and can’t reclaim the past.

In addition, the writing for the movie is off every now and again. The previous Indiana Jones project have always been written (the story of it) by George Lucas, who is quite absent from this latest endeavor. While the film’s story for the hunt for the Antikythera is indeed interesting, it does feel a little bit lacking in how certain events play out. Thus, Lucas’s absence is quite felt in how everything is staged in the Dial of Destiny , with the writers, who includes Mangold as well as Jez Butterworth, John-Henry Butterworth, and David Koepp, trying to emulate the classic narrative of an Indiana Jones capper. While they do certainly achieve that notion, the end result is a mixed bag and does have the exact same plotting and execution in the script as intended. This, of course, is quite strange because the film was delayed (several times) to rewrites examination in the story. Thus, one would expect a very sharp and well-executed story being told in Dial of Destiny . Unfortunately, that’s not the case as certain elements plot points are rather weak and underwhelming. Furthermore, the pacing of the movie’s narrative is quite messy, with the film having a very bloated runtime of 154 minutes (two hours and thirty-four minutes). While the length of the movie could be forgiven if there was a lot to explore and uncover, the middle portion and latter half (more on that below) feel extra elongated than needed to be. This could’ve made the feature short if the picture was shortened easily by fifteen minutes or so for a more tighter final cut of the endeavor without sacrificing the integrity of the narrative. So, it’s a combination of writing, which also has a few wooden dialogue driven moments, as well as Mangold’s direction as he meanders through some sluggish parts in the movie that makes Dial of Destiny less impactful than it ought to be. In a nutshell, I believe that the movie could’ve utilized a few more scenes of action and adventure rather than just running from one place to next; an effort that made the film feel choppy and fragmented in a few parts.

Lastly, the film’s third act is wonky in how it is presented and executed. I won’t spoil it for my readers, but, while certain elements I liked about, it was just merely poorly plotted out. In fact, it kind of felt underwhelming in a few key areas. I kind of figured something like what’s presented would be the climatic point of the feature, yet there is something that rings hollow for much of this portion. It gets a bit ridiculous and lacks the impact that I felt that the writers were trying to convey. This also makes the climax feel pretty “meh” with some disconnection as to the film’s lead hero and villain, which really have that “final confrontation” aspect in such a way that some of the previous Indiana Jones films were able to cultivate. Again, it just leaves a lot to be desired, with potential for something clever and / or profound squander for something a bit rudimentary. Even closing final moments feel undercooked and could’ve been better handled. To close out the feature the way it did felt like a lackadaisical in nature that the writers  did have a clear and precise way to end Dial of Destiny . Thus, finality of it all certainly leaves an unwanted unsatisfying, which is quite disappoint, especially since this franchise has plenty to be celebrated upon.

The cast in Dial of Destiny is definitely up the challenge in making the movie feel larger-than-life and definitely has that particular “feeling” of the past endeavors. The characteristic, like the other Indiana Jones movies, are quite broad, so that aspect didn’t bother me as much, but, sometimes, the characters could’ve either had more weight to them and / or more development in the feature’s lengthy screentime. Perhaps none shines better than actor Harrison Ford, who returns once again to reprise the main protagonist role of Dr. Henry “Indiana” Jones. Known for his roles in the Star Wars saga as well as The Fugitive and Blade Runner , has certainly been quite the seasoned and veteran actor across his long and illustrious career, playing both leading roles and even a few supporting ones from time to time. Much like his Star Wars character of Hans Solo, Ford has always been the perfect embodiment of the character of Indiana Jones, with a particular type of rogue-ish, daring, and no nonsense swagger about him that gives life to role in a fun and amusing way. It’s definitely the “bread and butter” of the entire series and Ford has always been up to the task in returning to the likeable fictional character that has become iconic in his own right. Thus, there is no question about that it that seeing the veteran actor returning to play Jones once again is definitely one of the best parts about Dial of Destiny (everyone can agree on that) and, much his return of playing Han Solo in Star Wars: Episode VII – The Force Awakens ), Ford easily slides back int role that he hasn’t played for fifteen years. The swagger, the talk, the gravitas….it’s all there still and Ford makes it all the better as it was such a wonderful treat to see that the actor hasn’t forgotten what made the character endearing long ago. In Dial of Destiny , Ford gets to play around with several interesting aspects to Indy, including a much more aged representation of his character that has seen and done many thing throughout his life, yet is filled with regret and troubled about the changing of times of the new world. Yes, it’s a different realm that Dr. Jones find himself in and the movie makes for a good story arc throughout his journey, with Ford capable of capturing some moments that provide clarity in those sequences. Even the film’s actions scenes are still quite good and still hold up Ford’s performance in those bits that still make it all the better. Could there have been a better closure for the character, especially since this is to be the presumably last film? Yes, absolutely. That being said, it was still great to see the character of Indiana Jones again and that Harrison Ford is still ever much a welcome sight to see him playing the no-nonsense archaeologist once again.

Behind Ford, actress Phoebe Waller-Bridge gets the most screen-time in the feature as Helena Shaw, Basil’s Shaw’s daughter / Jones’s goddaughter. Known for her roles in Fleabag , Killing Eve , and Solo: A Star Wars Story, Waller-Bridge has definitely starred to become quite a recognizable actress of late; appearing more and more frequently in larger and more popular projects. Thus, seeing her take a very prominent role in a major blockbuster film does certainly fit her going trend, with Waller-Bridge being equal to the task of playing a new character in the Indiana Jones saga. For her part, Waller-Bridge makes for a good portrayal of Helena Shaw, who imbues the character with enough cunning, zip, and spunky-ness to make her role both enjoyable and likeable throughout. I definitely agree that I think that Waller-Bridge is a capable actress and definitely brings the right amount of energy and charisma to the movie, acting as a great character foil to the more grizzly and gravitas of Ford’s Jones, so I quite liked her as Helena. That being said, the movie certainly doesn’t hide the fact that the Mangold and his team are trying to elevate the role to possibly takeover the mantle of the adventurer treasure seeking exploits of a spin-off Indiana Jones endeavor. While the idea is there, I hope that Disney doesn’t take this root as it would almost diminish the integrity of the franchise, which should only focus on Dr. Jones’s adventures. Overall, though, I felt that Waller-Bridge’s Helena Shaw was good in the Dial of Destiny and definitely kept the feature alive with her frenzy and excitement. Regardless of your feelings to the character, she’s definitely a much better sidekick character than to Shia LaBeouf’s Mutt Williams in Crystal Skull .

The last of the protagonist supporting players would be the character of Teddy Kumar, a young boy who ends up being Helena’s young sidekick companion and joining the hunt for the Antikythera with her and Jones, and who is played by young actor Ethann Isidore ( Mortel and Sam ). I personally have no problem with Isidore’s acting talents and range, I felt that the character of Teddy was rather annoying and more of a plot device. The young and impetuous young child that gets caught up in the greater events of the story has been done many times over in various different genres, including the character of  Short Round from Temple of Doom . I definitely get what Mangold and the writers trying to convey, but the character just seems like a one-note / forgetful character and makes Teddy the least interesting one of the entire film.

As for the Dial of Destiny’s antagonist, actor Mad Mikkelsen does a good job in the role of Jurgen Voller, a former Nazi scientist who is looking the Antikythera and write the wrongs of the past with the device in his possession. Known for his roles in Casino Royale , Hannibal , and Fantastic Beasts: The Secrets of Dumbledore , Mikkelsen is quite a gifted actor, who is quite well-versed (for the most part) in playing the villain in narratives and is adept in his vocal demonstration and subtly. Thus, his talents are surely put to good use as the main villain in this latest Indiana Jones endeavor. Naturally, Mikkelsen is up to the task and certainly makes for a chilling character role in Voller; something akin to Ronald Lacey’s Major Arnold Toht in Raiders of the Lost Ark . Again, the subtle nuances that Mikkelsen is quite known for are on display quite well in his performance as Voller, but this isn’t the actor’s best role. The script somehow restricts some integral and poignant moments from the character, which makes Voller rather straightforward, despite his ultimate goals in wanting the Antikythera. Thus, Mikkelsen does what he can with the material given to him and his physical screen presence certainly makes Voller interesting, yet still a bit clunky, especially during the third act. In a more secondary villainy role, actor Boyd Holbrook ( Logan and The Predator ) provides a memorable role as Voller’s right-hand henchmen named Klaber. While not exactly the most ingenious nor creative supporting bad guy in the franchise, but Holbrook’s Klaber still manages to make his mark on the movie.

The rest of the cast, including actor Jonathan Rhys-Davies ( The Lord of the Rings: The Fellowship of the Ring and Sliders ) reprising his Raiders of the Lost Ark and Last Crusades’ character role of Sallah, actor Toby Jones ( Captain America: The First Avenger and The Painted Veil ) as Indy’s comrade friend / Helena’s father Basil Shaw, actor Antonio Banderas ( The Mask of Zorro and Puss in Boots: The Last Wish ) as Indy’s old seafaring captain friend Renaldo, actor Thomas Kretschmann ( King Kong and Valkyrie ) as Nazi commander Colonel Weber, actress Shaunette Renee Wilson ( The Resident and Billions ) as U.S. Government agent Mason, actor Oliver Richters ( Black Widow and Miami Heat ) as Voller’s henchmen Hauke, and actor Martin McDougall ( Hyde Park on the Hudson and Aber Bergen ) as Voller’s henchmen Durkin, make up the rest of the supporting characters in the film. While most of these players are delegated to side characters, the acting talents involved are still spot on and definitely measure up to the pedigree on being a part of an Indiana Jones movie. Definitely was great to see Rhys-Davies’s Sallah back, but a few like Banderas’s Renaldo and Kretschmann’s Weber could’ve been easily expanded upon in the final cut of the movie, especially since I like both actors.

FINAL THOUGHTS

A legend will face his destiny as aged archaeologist Dr. Jones, along with his rambunctious goddaughter, embark upon a journey to uncover a mysterious artifact from the Greek mathematician Archimedes, which holds great power and draws the attention of a vengeful Nazi scientist in the movie Indiana Jones and the Dial of Destiny . Director James Mangold’s latest film takes the daunting task of being the first director to complete the narrative of what Spielberg / Lucas began in 1981 with one last “hurrah” for the iconic film character. While there’s plenty of nostalgia that is reminiscent of the original films, some good nuances of the action-adventure genre, a solid production quality, and likeable performances from Ford and Mikkelsen, the movie itself fails to capture that “spark” the original trilogy was able to manifest, especially in the film’s formulaic nature (not going outside the box), uneven pacing, a wonky third act and even unsatisfying conclusion. Personally, I felt that this movie was merely and adequately okay. Yes, some parts of it I like, especially seeing Ford back in the role and some of the adventurous aspects / nuances that are customary for the franchise, but I felt that the movie was still didn’t measure quite the right way and ends up being a rather generic escapade that plays on the so-called “greatest hits” of an Indiana Jones feature, yet lacking a sizeable touch towards it all. I don’t think it has terrible as some are making it out to be, but it definitely wasn’t worth the hype. In truth, it’s definitely better than Kingdom of the Crystal Skull , but still quite an inferior title to the original trilogy. Thus, my recommendation for this movie is a wavery “iffy choice” for some will probably like it, especially those who are fans of action-adventure series, yet some will dismiss seeing the film altogether. Maybe even a “rent it” would also suffice as there isn’t much drive to rush and see it during its theatrical run (best save for a home viewing experience). As stated several times during this review, the film has been presumably the final entry in the Indiana Jones saga, with Ford looking to retiring from playing the character. Knowing Disney, however, possible foundations for a spin-off are evident in the movie, especially in Waller-Bridge’s Helena being young and spunky enough to take up the mantle for the next adventurer. To me, I hope that no type of future project doesn’t move forward and keep what was preserved in these five feature films. Regardless if one materializes or not, Indiana Jones and the Dial of Destiny is a decent enough, yet slightly underwhelming final chapter in this tale of adventure, action, and treasure hunting for ancient relics, which provides (though stumbling) through nostalgia recollection of everyone’s favorite archaeologist crusader. In closing, like many diehard fans out there, I believe that the movie franchise should’ve ended at the Last Crusade , with Indiana Jones riding off into the sunset.

3.2 Out of 5 (Iffy Choice / Rent It)

Released on: june 30th, 2023, reviewed on: july 4th, 2023.

Indiana Jones and the Dial of Destiny   is 154 minutes long and rated PG-13 for sequences of violence and action, language, and smoking

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I found this average too, although in my review, I still rated it relatively high because of the action scenes. Somehow, there just wasn’t that true euphoria and after a while, all that traveling about got rather wearisome.

I know he wasn’t likeable but I still would have preferred for Mutt to be in this one too. (Oh well)

PS: I’m the opposite of you. My favourite was Temple of Doom. But that’s horribly culturally wrong by today’s standard. Heh

Haha….oh Mutt. I think he would’ve been an interesting character to be sure, but maybe not played by Shia. Still, it was an admirable attempt, but the film never reached its intentions. And yes, everyone has there favorite and Temple of Doom is still a good movie.

I hate to read about another final installment being underwhelming. You’d think, whether Rambo, Michael Myers, or Indiana Jones, every ounce of heart and soul would be poured into them and they’d be so awesome the audience would sense the finality of it all.

I do have a question for anyone that has seen it. Is there enough “treasure hunting” that you’d consider this a treasure hunting film? I’ve asked a couple of others and one says yes the other says no. I need a tiebreaker! My kids are obsessed with treasure hunting, we were about to head west to search for the Fenn Treasure before it was found (we got delayed because of the pandemic). They also love treasure hunting movies like Uncharted, National Treasure, Goonies, etc. I’m trying to figure out if they’d enjoy this enough for the (ungodly) expense of going to see a movie.

I would say yes….it’s a treasure hunting movie. Finding clues to one place that leads to another in the effort to find something legendary relic. It’s a globetrotting adventure, so it definitely has that flair to it.

The sunset send-off in Last Crusade is hard to top🏜️🏇🏼

Haha…most definitely. Such a great ending!

great review and I think we pretty much agree on score. I liked it. I didn’t love it. C+ which is pretty close to your rating.

It definitely was better than Crystal Skull, but it didn’t come close to the original trilogy films. It’s just a bit of shame that it sort of ends on a otherwise bland note than a great finale.

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Indiana Jones and the Dial of Destiny: Harrison Ford's last hurrah in iconic role tangles with Nazis, nostalgia and aging

For a pop series in which coveting treasure invariably leads to certain doom, the prospect of a fifth and supposedly final Indiana Jones movie – with a now 80-year-old Harrison Ford in the lead, and without Steven Spielberg behind the camera – may well constitute one cliffhanger too many; a last lunge for the Holy Grail that brings the whole temple crashing down.

Forty-two years after Raiders of the Lost Ark, the series has become as nostalgic for its own blockbuster heyday as its creator George Lucas once was for the serialised adventures of his childhood; the original film's seat-of-its-pants charm, roguish one-upmanship and spooky practical effects are now as talismanic as ancient relics.

It also means the franchise, now under the aegis of Disney, has backed itself into something of a creative corner.

Having tangled with atomic-age aliens in Spielberg's flawed-but-fascinating Indiana Jones and the Kingdom of the Crystal Skull (2008), our globe-trotting hero is back to doing what his current minders, at least, think he does best: punching Nazis. As the traitorous American villain once sneered at Indy, in 1989's cheerfully self-reflexive Raiders redux, Indiana Jones and the Last Crusade: "The Nazis? Is that the limit of your vision?"

Directed by James Mangold ( Ford v Ferrari ; Logan ), who has the unenviable task of stepping into Spielberg's sneakers (Spielberg and Lucas remain as executive producers), the Nazi-heavy Indiana Jones and the Dial of Destiny is a sincerely mounted, often gripping action movie that also runs up against the limits of its own vision.

It's a film that wants to swing big, reckoning with an aging pulp hero out of his time, and questioning the perils of living for the past, but one whose ultimately tame execution – and, you might argue, very existence – serves to refute its thesis.

Without the playfulness of the old Paramount logo dissolve , the movie begins in gloomy media res, with Indy – played by a digitally de-aged Ford – deep behind German lines in 1944, just as the tide of the war is turning against the Nazis. He and his stuffy archaeologist colleague, Basil Shaw (Toby Jones), are trying to stop a train full of antiquities bound for Berlin (seems failing to nab both the Ark of the Covenant and the Holy Grail hasn't dimmed the Führer's enthusiasm), when they stumble upon half of the Antikythera, an ancient dial rumoured to generate fissures in time, and run afoul of a Nazi commander, Jürgen Voller (Mads Mikkelsen), determined to wield the mechanism for his own power.

"Whoever has it," Voller threatens, "will be God."

It's a long, muddy-looking sequence that, like too much of the movie's action, misses Spielberg's spatial dynamism and visual wit. But the film gathers some steam and personality in 1969, where we meet a now 70-year-old Indy, stuck in a cluttered New York apartment and snoozing on a recliner in front of psychedelic kids' show H.R. Pufnstuf, and about to be abruptly awoken by the downstairs neighbours blasting The Beatles. (The song: Magical Mystery Tour, of course.)

The crumpled professor is in the middle of a divorce and a thankless teaching job at Hunter College, where the bored, bubble-gum-popping students are more excited by the recent Moon landing than they are by ancient artefacts.

"Going to the Moon is like going to Reno," Indy grumbles, with every right of a guy who's seen extra-dimensional UFOs and Biblical phantasms.

The only person not looking to the future, it seems, is the now middle-aged Voller, who's been biding his time as a NASA physicist on the Apollo project, but whose real dream is to get his hands on the dial and turn back time, using his advanced knowledge to help the Nazis win the war.

Luckily, Indy's 30-something goddaughter, and Basil's kid, the spirited, whip-smart Helena Shaw (Fleabag's Phoebe Waller-Bridge), gets to it first. She's soon whisked the dial away to Tangier, where she's holding a black market antique auction alongside her teenage offsider, Teddy (a lively, if underused, Ethann Isidore).

With Indy joining them, it's an old-fashioned, international jaunt that takes our heroes across North Africa and into Europe by land and sea, with Voller and his goons – a moustachioed American stooge (Boyd Holbrook), presumably standing in for a contemporary Proud Boy – in hot pursuit.

Powered by Mangold's reliable craft and John Williams's typically baroque score, it all motors along at a pretty rousing clip, from an improbable horseback chase through a subway to a knockabout, Italian Job-inspired escape in tuktuks, with bugs, eels (the film's amusing variation on Indy's reptile phobia) and a salty Spanish sea captain (an all-too-brief Antonio Banderas) thrown in for good measure.

The lanky, mischievous Waller-Bridge is the animating spark for much of the adventure; as the mercenary, ethically dubious Helena, she's a ghost of Indy's own past, and the actor brings out a lovely, cross-generational rapport with Ford that occasionally evokes his double act with Sean Connery in The Last Crusade.

Her presence also suggests a scrambled moral complexity: In an era when Indy's old mantra, "It belongs in a museum," carries a whiff of institutional colonialism, who's to say Helena's black market capitalism is any less noble a pursuit?

Dial of Destiny is at its best when it tips its fedora towards these grey areas, when Mangold's sense of fraught American idealism – previously glimpsed in his intermittently compelling Ford v Ferrari – rises to the fore.

But while Mangold is a dependable action filmmaker with a steady command of the frame, the Indiana Jones films were never merely about great action; what he can't quite summon is the ineffable magic that the original films possessed, that strange alchemy that resulted from the synchronicity of – and sometimes, friction between – their creators.

Whether reanimating their movie-matinee childhoods in Raiders, pouring their post-divorce angst into the series' exhilarating 1984 highpoint, Indiana Jones and the Temple of Doom, or teasing out daddy issues in The Last Crusade, Lucas and Spielberg brought a deeply personal vision to their populist escapades.

Even Crystal Skull, in which Lucas's loopy digital futurism clashed with Spielberg's late-career classicism, bore out a rich creative tension, yielding one of the series' most memorable images: The aging hero framed against the modern threat of a nuclear mushroom cloud (itself a direct line to Spielberg's 50s childhood, as seen in The Fabelmans ).

Put bluntly: No Spielberg, no Lucas – no Indiana Jones.

Dial of Destiny can't help but be a simulacrum of the series' past glories; even with its admirable attempts to wrestle with time and legacy, the film's lack of imagination undoes its ambition.

Given the wild possibilities afforded by this $295-million movie's magical time-travel MacGuffin – not to mention the digital de-aging toolkit at its disposal – the big climax plays it dispiritingly safe: catnip for history buffs, perhaps, but minus the nutty lunacy of the previous films' supernatural finales. (Imagine the perverse thrill of, say, seeing old Indy watch his youthful exploits serialised on screen in 1981. No such luck here.)

By the time the movie is quoting dialogue verbatim from Raiders, it's clear that it has nothing much to add to the legacy.

Through it all, it's possible to be moved by Ford, who continues to relish Indy like no other character in his 50-year stardom.

He's still capable of summoning that wry, crooked smile and schoolboy giddiness, but here, that cavalier spirit is tempered with a sense of time and loss. There's an incredibly touching moment, midway through the film, in which Indy opens up about his regret over a tragedy he wishes he could change, and Ford plays it with the kind of rare, unguarded tenderness that's escaped so many of his other legacy franchise roles in the last decade.

Dial of Destiny may not be the send-off that Indy deserves, but in those moments – and in the weight of Ford's presence – there's a flicker of the film it might have been.

Indiana Jones and the Dial of Destiny is in cinemas now.

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Movie Review – Indiana Jones and the Dial of Destiny (2023)

August 31, 2023 by Brad Cook

Indiana Jones and the Dial of Destiny , 2023.

Directed by James Mangold. Starring Harrison Ford, Phoebe Waller-Bridge, Antonio Banderas, John Rhys-Davies, Toby Jones, Boyd Holbrook, Ethann Isidore, and Mads Mikkelsen.

The fifth and final Indiana Jones movie, The Dial of Destiny , arrives in a digital edition that includes a making-of that runs nearly an hour. The film is a fun, albeit a bit long, romp around the world that sends our hero off with style, and the making-of does a good job of balancing nostalgia for the series with the production of this movie.

Everything ends, eventually. That’s a bitter pill to swallow for us Gen X movie fans who grew up in the 70s and 80s. Unfortunately, some of us have become as bitter as those pills, but in my case, I can appreciate a bit of wistful nostalgia while accepting the fact that the world moves on.

That’s certainly the feeling I had leaving the theater after watching Indiana Jones and the Dial of Destiny , which my 16-year-old son declared boring and headed to the lobby about half an hour in. How dare he be his own person?!

I’m kidding, of course. That experience just reinforced my desire to carve out a special spot in my heart for the Lucas and Spielberg movies I grew up with while realizing that a new generation may not feel the same way, and that’s okay. My son and I share some things, such as an appreciate of Cowboy Bebop , but I’ll never grok something like JoJo’s Bizarre Adventure , and he’ll never grok Indiana Jones movies. That’s fine.

So, with that out of the way, the movie! I suppose its disappointing box office performance shows that there are more people like my son out there, despite what Disney may have thought when it green-lit a fifth and final Indy movie. If that’s the reality of the situation, I’m fine with that, and they can get off my lawn.

It will never be possible to get back the thrill of the first three Indy films ( Temple of Doom has its moments), but Dial of Destiny does a much better job of that than its predecessor, the tepid Kingdom of the Crystal Skull .

The action opens in 1944 as Indy and his buddy Basil Shaw, an Oxford archaeologist, try to retrieve the artifact the Lance of Longinus from the loot the Nazis have stored in a French castle and are trying to bring back to Germany. The lance turns out to be a fake, but Indy and Basil end up getting a piece of Archimedes’ Dial, also known as the Antikythera Mechanism, from the main bad guy, Jürgen Voller.

Indy is a de-aged Harrison Ford during this extended prologue, and the effect works pretty well. It’s hard for me to objectively assess modern de-aging techniques, since I’m well aware that it’s a digital effect, but I was able to suspend disbelief and just go with it. I suppose the true test of de-aging is to have someone watch this movie without knowing anything about Harrison Ford ahead of time.

Then we jump ahead to 1969 and Harrison Ford takes over in all his 80-year-old glory. Indiana Jones is about to retire as a college professor, but it’s not a time of celebration for him. His son, Mutt, died in the Vietnam War, his wife Marion has filed for divorce, and his students are more interested in the Apollo 11 astronauts who have returned from the moon than in hearing about ancient artifacts.

He doesn’t have much time for melancholy, however, because his goddaughter Helena Shaw, daughter of Basil, comes back into his life with an interest in the piece of Archimedes’ Dial. Jürgen Voller is still around too, and soon he and his goons are in pursuit of Indy and Helena because they want the artifact too.

Jürgen wants it so he can find the other part of the Dial and use the reassembled artifact to go back in time and ensure the Nazis don’t lose World War II. Indy would like to stop them, of course, and Helena has her own motivations that don’t quite line up with Indy’s desires. The resulting chases take our heroes to far-flung locales before building to a climax that’s not really out of sync with typical Indiana Jones movies, despite how jarring it may be.

With a 153-minute runtime, Dial of Destiny could have used a bit of editing, especially during a chase sequence in Tangier that goes on a bit long. I’m not sure why so many filmmakers these days feel the need to consistently blow past the two-hour mark. In the case of the four previous Indy movies, all of them were able to wrap up their stories right around 120 minutes.

But that said, Dial of Destiny is a fun ride, especially for moviegoers like me who just want to enjoy some nostalgia as we contemplate a retirement full of watching all those films we’ve collected over the years.

In the case of this one, Disney gave me a code for a digital copy redeemable at Movies Anywhere. The sole bonus feature is a making-of that runs nearly an hour and does a good job of covering the production, along with a nice reflection on the series at the beginning. The only thing I would have liked to see added was some background information on the starts and stops that led to the making of this film.

As of the writing of this review, the expected Blu-ray and 4K Ultra HD editions of Dial of Destiny haven’t been announced yet, so I don’t know how they’ll compare to this digital edition. Hopefully they’ll have more bonus features, and maybe Disney will eventually make a nice long documentary that looks at all five films.  

Flickering Myth Rating  – Film: ★ ★ ★ / Movie: ★ ★ ★ ★

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Indiana Jones movies in chronological order (and where to stream them)

T he Indiana Jones franchise began in 1981 and has since grown to consist of five films, a prequel series, and games, comics, and novels. The stories follow the adventures of the fictional professor of archaeology, Dr. Henry Walton Jones, Jr., aka Indiana Jones, a character portrayed by actor Harrison Ford.

The franchise was created by George Lucas, with the first four films directed by Steven Spielberg and the fifth by James Mangold. The first film, Raider of the Lost Ark, is considered the best, which, upon its release, was labeled an instant classic.

Raiders of the Lost Ark - released in 1981

The first film, Raiders of the Lost Ark , is set in 1936 as Indiana Jones embarks on a mission to locate the Ark of the Covenant. Hired by the government, Indiana is in a race against time to secure the ark, which contains the stone tablets Moses inscribed the Ten Commandments before Nazi Germans can get their hands on it. The movie also stars Karen Allen, Paul Freeman, Ronald Lacey, John Rhys-Davies, and Denholm Elliott.

Where to watch: Disney+, Roku, PlutoTV, Paramount+ (Via Prime Video), Paramount+

Indiana Jones and the Temple of Doom - released in 1984

The second installment , Indiana Jones and the Temple of Doom , is a prequel to the first movie. Set in 1935, the film follows Indiana, aided in his escape from Chinese gangsters by singer/actress Willie Scott (Kate Capshaw) and his young sidekick Short Round, portrayed by Ke Huy Quan in his film debut. After surviving a plane crash orchestrated by Lao Che (Roy Chiao), leader of the Chinese gangsters, Indiana and his companions land in a village in British India, where they enlist his help in recovering the holy Sankara Stones. The movie also stars Amrish Puri, Roshan Seth, and Philip Stone.

Where to watch: Disney+, Roku, Paramount+ (Via Prime Video), Paramount+, PlutoTV

Indiana Jones and the Last Crusade - released in 1989

Set in 1938, the third movie, Indiana Jones and the Last Crusade , Indiana and his friend Marcus Brody (Denholm Elliott) are contracted to find the Holy Grail by American businessman Walter Donovan (Julian Glover). The pair, assisted by Dr. Elsa Schneider (Alison Doody), pick up the search for Indiana's father, Henry (Sean Connery), who mysteriously disappeared during his search. Also starring John Rhys-Davies and River Phoenix.

Where to watch: Disney+, Roku, Paramount+, Paramount+ (Via Prime Video), PlutoTV

Indiana Jones and the Kingdom of the Crystal Skull - released in 2008

Set nineteen years after the previous movie, Indiana is back at it in Indiana Jones and the Kingdom of the Crystal Skull. Living a quiet life as a professor, Indiana is thrown back into adventure, this time against the Soviet Union agents led by Irina Spalko (Cate Blanchett). This adventure takes him on a quest to locate the Crystal Skull and finds him betrayed and faced with some interesting life changes. Also starring Karen Allen, Ray Winstone, John Hurt, Jim Broadbent, and Shia LaBeouf.

Where to watch: PlutoTV, Disney+, Roku, Paramount+, Paramount+ (Via Prime Video)

Indiana Jones and the Dial of Destiny - released in 2023

Indiana Jones and the Dial of Destiny takes place in 1969, where Indiana, who now lives in New York City, is preparing for retirement from Hunter College. He is approached by his goddaughter Helena Shaw (Phoebe Waller-Bridge) as she seeks Archimedes' Dail, a relic Indy and her father Basil (Toby Jones) retrieved from the Nazis in 1944. They come against Jürgen Voller (Mads Mikkelsen), a Nazi-turned-NASA scientist who wants to use the relic to alter events of World War II.

Where to watch: Disney+

This article was originally published on bamsmackpow.com as Indiana Jones movies in chronological order (and where to stream them) .

Disney's Huge Losses From Indiana Jones 5 Revealed

A new report reveals how much money Disney lost with Indiana Jones and the Dial of Destiny's box office performance.

In 2023, Indiana Jones and the Dial of Destiny underperformed when it was released in theaters, falling short of its box office expectations. In fact, the final adventure for Harrison Ford as Indiana Jones wound up costing Disney quite a bit of money at the box office, with a new report shedding light on just how painful the losses were for the House of Mouse.

Per Forbes , Disney reportedly lost $134.2 million on Indiana Jones and the Dial of Destiny , spending that amount more than what the film made at the box office. Part of the losses come from the tremendously high budget for the sequel, with added post-production costs of $79 million raising the overall budget to $387.2 million . The film would ultimately gross $384 million at theaters, just under half of the haul pulled in by 2008's Indiana Jones and the Kingdom of the Crystal Skull . It's also noted that the studios receive half of box office revenue, and Disney is estimated to have earned $192 million for Dial of Destiny .

Harrison Ford Never Considered Death for Indiana Jones in Dial of Destiny

The good news is that the film can still make more money for Disney beyond the box office ticket sales. Merchandise and physical media copies of the film will add more to the earnings, though it's not clear just how much money has been made from these avenues. The film also reportedly performed very well when it was released for rental and purchase digitally on the VOD market, and it drew high viewership when it was added to Disney+ , for what that's worth.

Will There Be a Future for the Franchise?

Harrison Ford has stated that this will be his final movie starring as the famous adventurer. The franchise could still potentially move on, even if its lack of box office success might make that seem unlikely. Phoebe Waller-Bridge agrees that there's no "replacing" the character, though she still felt that there was story potential to explore with Helena Shaw .

Indiana Jones and the Dial of Destiny's Biggest Easter Eggs and References

"There’s no replacing Indiana Jones in any way," she told Vanity Fair . "But I feel like the character herself -- she did feel fresh on the page, and there is a sense of, is there room in the world for someone like this. So I do think there’s room for a slightly clumsier, bruised, limping female action star, maybe, in the future."

James Mangold directed Indiana Jones and the Dial of Destiny with a screenplay co-written with Jez Butterworth, John-Henry Butterworth, and David Koepp. The film stars Harrison Ford, Phoebe Waller-Bridge, Antonio Banderas, John Rhys-Davies, Toby Jones, Boyd Holbrook, and Mads Mikkelsen.

Indiana Jones and the Dial of Destiny is currently streaming on Disney+.

Source: Forbes

Indiana Jones and the Dial of Destiny

Archaeologist Indiana Jones races against time to retrieve a legendary artifact that can change the course of history.