It is easy to slag off a revisited franchise merely because it is a revisited franchise; prequels, sequels, remakes and reboots are rarely as loved as the original film - though there are always exceptions. Indiana Jones and the Dial of Destiny is not Raiders, Temple or Crusade and it was never going to be, but it is a marked improvement on Crystal Skull – even if that is something of a low hurdle.
The film opens with a flashback sequence set in 1944, with Harrison Ford playing a younger Indiana Jones with the aid of AI-assisted technology. Although this is considered a controversial technique, the audible gasp of the audience as Indy was revealed was the first of many highlights in this exciting chase-athon. Indy and his sidekick manage to liberate half of the eponymous dial from a Nazi train, thwarting AI-youth-enhanced Nazi scientist, Voller (Mads Mikkelsen).
Inevitably, Voller returns for the dial in 1969 and we are then treated to an exciting series of round the world chase sequences involving Indy and friends old and new, as they try to obtain the other half of the dial and prevent its misuse. Chief amongst those friends is Dr Jones’ god-daughter (and daughter of 1944 sidekick), Helena Shaw, played by Phoebe Waller-Bridge.
Helena is the main vehicle that keeps the plot moving, with her shifting motivations underpinning most of the key moments, whilst also attempting to provide most of the movie’s comic relief. Unfortunately, Waller-Bridge’s delivery of the comic moments are often ham-fisted and even become outright irritating at times, particularly during the dynamite/boat sequence. It is unlikely this is simply a case of bad acting but more likely the struggles of an American writing and directing team attempting to replicate the British humour that Waller-Bridge is renowned for and placing it in a movie where it doesn’t entirely feel at home.
Mikkelsen’s Dr Voller (possibly based on Wernher von Braun) makes for a compelling villain and allows for an examination of the role of Nazi scientists in American technological advances, such as the space race, that feels very Spielberg. Voller’s motivations are surprising, once revealed and make for an interesting deviation from popular time travel tropes.
Marion (Karen Allen) and Sallah (John Rhys-Davies) return and tributes are made to Shia LeBouf’s unpopular Mutt from Kingdom of the Crystal Skull. Teddy (Ethan Isidore) has some good moments but mostly feels like a Poundland Short Round. Antonio Banderas’ short-lived Renaldo is a highlight that arguably deserved more screentime.
The movie is well paced, featuring a huge variety of adrenaline filled chase sequences strung together by a compelling plot. There will be some that complain about the time travel elements of the movie and the final act in particular, but this is no more a suspension of disbelief than we have previously experienced in the franchise. If we can have gods, magic and thousand-year-old knights, why not time travel? As Indiana Jones says himself, ‘A few times in my life I’ve seen things I cannot explain’.
Ultimately, Mangold manages what Spielberg couldn’t, he revisits the Indiana Jones franchise and creates a compelling and exciting story, full of lively and fun characters that feels like it belongs in the series. In a world full of rehashes, poor quality reboots and ill-thought-out sequels, that is a true achievement.