While this film may be the last time we’ll see Harrison Ford don the fedora and the whip, it doesn’t mean we can’t go on one final globe-trotting adventure with the famed archeologist.
“Daredevil archaeologist Indiana Jones races against time to retrieve a legendary dial that can change the course of history. Accompanied by his goddaughter, he soon finds himself squaring off against Jürgen Voller, a former Nazi who works for NASA.”
‘Indiana Jones and the Dial of Destiny’ first premiered at the 76th Canne Film Festival, exactly 15 years after ‘Indiana Jones and The Kingdom of the Crystal Skull’ premiered at Canne. Leading man Harrison Ford also received the Palme d’Or d’honneur for lifetime achievement at the festival.
“They say when you’re about to die, you see your life flash before your eyes, and I just saw my life flash before my eyes,” Ford said as he accepted the award.
The previous installment, ‘The Kingdom of the Crystal Skull,’ was not received well by the audience, earning a 53% score on Rotten Tomatoes. However, ‘The Dial of Destiny’ received an 88% score from the audience, with many comments calling out certain classic Indy moments in the film.
Using the de-aging technology, the story takes us back in time to see a younger Indy, with a great action sequence aboard a moving train with the film’s antagonist Voller (Mads Mikkelsen). It had all the classic Indiana Jones movie moments and also set up the film’s McGuffin – the Archimedes dial.
Ford has been playing the globe-trotting, Nazi-punching archeologist for over 4 decades, debuting the character in ‘Raiders of the Lost Ark’ in 1981. Now at 80, the actor returns to the role once again. We find Indiana Jones in a very interesting time – weighed down by his failed relationship with his wife Marion, being forced into retirement, and dealing with the loss of his son Mutt (Shia LaBeouf). This is certainly different than the Indy we know and remember, but Ford brings sincerity to the role and is ever committed to big action sequences and a high-speed car chase through the city as he and Helena go after the Dial.
The movie opened in theaters on June 30, 2023, and is available in various formats, such as Dolby Cinema, IMAX, 4DX, and ScreenX. ‘The Dial of Destiny’ still playing in theaters, so be sure to check your local listings and Moviefone below for showtimes in your area.
‘Indiana Jones and the Dial of Destiny’’ has a total runtime of 2 hours and 35 minutes.
Watch the official trailer for ‘The Dial of Destiny’ below:
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Can’t make it out to the theater? Don’t worry. Since the movie is under the Walt Disney Studio banner, it will surely make its way to Disney+. Typically, Disney Studios films adopt a 45 to 90-day theatrical release window before it arrives on the streaming platform. This was the case with films such as ‘Guardians of the Galaxy Vol. 3’ and ‘Ant-man and the Wasp: Quantumania.’ No official date has been announced for the film’s release on the streaming platform or VOD.
What is the plot of ‘Indiana Jones and the Dial of Destiny’?
In 1944, American archaeologist and adventurer Indiana Jones (Harrison Ford) helps colleague Basil Shaw (Toby Jones) against Jürgen Voller (Mads Mikkelsen), a Nazi, from obtaining a mysterious dial known as the Antikythera. Twenty-five years later, Jones is uneasy over the fact that the U.S. government has recruited former Nazis to help beat the Soviet Union in the competition to make it to space. He is about to be forced into retirement when, surprisingly, his goddaughter, Basil’s daughter Helena Shaw (Phoebe Waller-Bridge), accompanies him on his journey for the Dial. Meanwhile, Voller, now a NASA member and ex-Nazi involved with the Apollo Moon-landing program, is also after the dial, and wishes to use it to make the world into a better place as he sees fit.
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Who is in the cast of ‘Indiana Jones and the Dial of Destiny?’
‘Dial of Destiny’ is an improvement from ‘Indiana Jones and the Kingdom of the Crystal Skull,’ but still not a great ending for Indiana Jones’ story. The screenplay is confusing and convoluted, while the pacing is slow at times. Director James Mangold does an efficient job but the “Indiana Jones” magic is still missing from this installment. Harrison Ford gives a strong and emotional performance, while Phoebe Waller-Bridge breathes some fresh air into the franchise, but ultimately the film feels like an epilogue rather than a definitive final chapter.
The movie begins in 1944 at the end of World War II with an excellent sequence that takes place on a moving train. Ford is de-aged for the scenes, and while the VFX don’t entirely work, Mangold shoots the actor as sparingly as possible, as a little bit goes a long way. The sequence is classic Indiana Jones and one of the best set pieces in the film. But once the story cuts to present day, it drags to the next action sequence. Many of the characters’ motivations are unclear, as is the true power of the dial, this film’s McGuffin. And without giving away the ending, that seemed to come out of nowhere, like Indy meeting aliens in the last movie.
James Mangold is a very accomplished director, having made such films as ‘3:10 to Yuma,’ ‘Logan,’ and ‘Ford v Ferrari,’ and does a good job with the action sequences and the drama, but the pacing and the tone never seems quite right. This is the first film in the franchise not directed by Steven Spielberg, and while I certainly did not like ‘Crystal Skull,’ I have to wonder if the “magic” missing from this movie isn’t him? Mangold leans heavy on the nostalgia, which serves the film well with several cameos and callbacks. The director stages some impressive action scenes including the opening, a parade chase through the streets of New York, and a final mind-bending sequence.
Overall, the movie feels more dramatic than necessary and lacks the fun of the first three films. The 1969 setting of the movie is refreshing and contrasts Ford’s age and the flashback sequences well. Using the idea of Nazis working with NASA on the space race was a clever idea, but not really explored enough. Nor is the true power of the dial, which is problematic because they’ve been chasing after it for the entire movie and we don’t really understand what it is capable of until the end.
Harrison Ford will always be Indiana Jones! The actor returns to the role a little more gruff, but it suits the character well. Ford gives a great performance, but it is more dramatic than I expected. As an actor, Ford is excellent, but I question taking the character in this direction, as it sucks some of the fun out of the movie. Indiana lost his son Mutt Williams (Shia LaBeouf) in Vietnam, his wife Marion (Karen Allen) has since left him, he is being forced into retirement, and he seems to have a drinking problem. It’s a different way of looking at Indy, and while it’s not my idea of a fun time, Ford brings a lot of sincere emotion to his beloved role. And it is nice to see him wear the Fedora and crack the whip one more time.
Phoebe Waller-Bridge gives a wonderful and cheeky performance as Indy’s goddaughter Helena. It’s a fun character and Waller-Bridge breathes fresh life into the film with her role. However, I do question the way the character was written, as her motivations are unclear at times and seem to change on a whim. That said, she is a good foil for Indy, and has lovely chemistry with Ford.
Several new characters are introduced, but most of them have limited roles. Toby Jones plays Helena’s father and Indy’s friend Basil Shaw. He’s only seen in flashbacks, but is good in his scenes with Ford, especially in the beginning. Antonio Banderas is introduced as an old friend of Indy’s, and while his presence was more than welcomed, we don’t spend enough time with the character to really get to know him. But the most confusing addition was Ethann Isidore as Teddy, an ally of Helena. No offense to the young actor, who was fine in the role, but the character seemed unnecessary and his relationship to Helena was vague and never really explained.
Again, in a far too limited role, John Rhys-Davies returns as Sallah, who first appeared in ‘Raiders of the Lost Ark’ and last in ‘Indiana Jones and the Last Crusade.’ He has only a few scenes but they are all with Ford, and it’s great seeing the two together again. Davies also has one of the best lines in the movie, but I wish the character could have been more involved with Indy’s journey.
Is Marion Ravenwood in Dial of Destiny?
Yes. Karen Allen returns as Marion Ravenwood, but like Davies, she really only has a cameo. However, the character plays a pivotal role in the film and is the reason for most of Indy’s actions and motivations.
Mads Mikkelsen plays a strong Indiana Jones villain with his performance as Nazi turned NASA scientist Jurgen Voller. The actor plays the role surprisingly differently than you might expect, and is a worthy adversary for our hero. While the actor never hides the characters motivations or true intentions, the story fails him at times when it becomes too convoluted. Voller’s role with the CIA is also confusing, working with agent Mason (Shaunette Renee Wilson), who seems unclear on why she’s helping him. And Boyd Holbrook basically plays the same role he did in Mangold’s ‘Logan,’ as Voller’s lead henchman.
Without giving away the end of the movie, we eventually learn that the Dial’s power has to do with time. This leads to an absolutely preposterous ending, that again, I won’t spoil. But it feels like something someone would write in fan-fiction and not a proper ending to Indiana Jones’ journey. In fact, the ending is so ridiculous its laughable and took me out of the film completely. That being said, it’s not as bad as Indy meeting aliens, but I do wonder if the franchise wouldn’t have been better off ending with ‘The Last Crusade,’ which was pretty much a perfect movie and the best in the franchise next to ‘Raiders.’ Still, it is fun seeing Ford as Indy one more time, and I do appreciate his thoughtful and emotional performance.
In the end, ‘Indiana Jones and the Dial of Destiny’ just didn’t work for me. Mangold fills the movie with great action, and lots of nostalgia and dramatic emotion, but the story is all over the place, along with the tone and pacing. The returning characters that you want to see more of are limited, and too much time is spent on ancillary characters. Both Waller-Bridge and Mikkelsen give fresh and fun performances, but just like Indy, Harrison Ford swoops in and saves the movie. If for nothing else, the film is worth seeing just to get a glimpse of Ford as his signature character one more time.
‘Indiana Jones and the Dial of Destiny’ receives 6.5 out of 10 stars
As we head into spooky season, here’s a guide to a wide variety of new horror films from female filmmakers to get your skin crawling. With such a rich crop of startlingly original titles from filmmakers with bold visions and unique points of view, there’s bound to be something for everyone’s particular penchant. Whether you’re looking for mind-blowing body horror, creatures like vampires, witches or ghosts, or just good old fashioned blood, guts and gore – something wicked awaits you.
Adriana Barraza in ‘Bingo Hell’
The fifth installment in the anthology Welcome To The Blumhouse, Gigi Saul Guerrero’s film stars Oscar-nominated actress Adriana Barraza as Lupita, the lynchpin of a group of elderly persons living in the slowly gentrifying enclave known as Oak Springs. When the owner of the community center mysteriously disappears and the bingo hall is taken over by a huckster named Mr. Big (a wonderfully slimy Richard Brake) promising suspiciously big payouts, Lupita rallies the group to fight back. Filmed in New Orleans, Guerrero’s gruesome, wry film is perfect for fans of ‘The Outer Limits.’
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Asjha Cooper, Frabrizio Guido and Mason Beauchamp in ‘Black As Night’
Written by Sherman Payne, Maritte Lee Go’s addition to Welcome To The Blumhouse follows awkward teenager Shawna (Asjha Cooper) as she tackles body issues and battles vampires over one fateful summer. When her mother falls victim to a gang of vampires preying on the most vulnerable residents of New Orleans – drug addicts and the unhoused struggling after Hurricane Katrina – Shawna vows to not only avenge her death, but put an end to their bloody reign in the Big Easy forever.
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Zena Grey, Erika Cimino, Carlson Young, Brianne Tju and Alice Carroll Johnson in ‘The Blazing World’
Loosely inspired by Margaret Cavendish’s 1666 satirical, proto-science fiction of the same name, Carlson Young’s fantasy horror-thriller had its world premiere at the 2021 Sundance Film Festival. Young stars as Margaret Winter, a self-destructive young woman still reeling from her twin sister’s accidental drowning, who returns home only to find herself in an alternate dreamlike dimension where her sister may still be alive. Udo Kier, Dermot Mulroney, Vinessa Shaw round out the film’s impressive cast.
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Lauren Beatty in ‘Bloodthirsty’
Co-written by mother-daughter team Wendy Hill-Tout and Lowell Boland, follows indie musician Grey Kessler (Lauren Beatty) as she battles her anxiety while working on her sophomore album. When mysterious producer Vaughn (Greg Bryk) offers his mansion and services, Grey is elated. However as his abusive process pushes her into the darker recesses of her psyche, she finds herself transforming in more ways than one. Shot on location in Edmonton, Alberta, Canada, the result is a unique, transfixing, and gore-filled twist on the werewolf genre.
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Yahya Abdul-Mateen II in ‘Candyman’
Co-written with Win Rosenfeld and producer Jordan Peele, Nia DaCosta’s entry into the Candyman franchise, first adapted from by Clive Barker’s “The Forbidden” in 1992 by Bernard Rose, picks the story back up twenty-seven years after the events of the first film. Chicago-based visual artist Anthony McCoy (Yahya Abdul-Mateen II) finds himself drawn to the urban myth of Candyman and the Cabrini-Green housing project. Little does he know his connection to the lore runs deeper than just the power of artistic inspiration. Although critical reception was split, after its initial release DaCosta became the first American Black woman director with a number one at the box office.
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Niamh Algar in ‘Censor’
Set at the height of the Video Nasty controversy in the early 1980s England, Enid Baines (Niamh Algar) works as a censor for the British Board of Film Classification. Years early Enid’s sister went missing and is presumed dead, but when Enid discovers an old exploitation film that parallels the events of her sister’s disappearance, she becomes obsessed with finding the woman she believes may be her long lost sister. Shot on a mixture of 35mm, Super8 and VHS, Bailey-Bond’s film is a visceral and disquieting debut.
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Fear Street Trilogy – directed by Leigh Janiak
Ted Sutherland and Sadie Sink in ‘Fear Street’
Set in 1994, 1978, and 1666 respectively, the trilogy relates the twisted relationship between the communities of Shadyside and Sunnyvale as it unpacks the curse of Sarah Fier, a witch who was burned at the stake. Inspired by the iconic book series by R. L. Stine, director Leigh Janiak infuses a fresh new point of view by centering the films on a queer love story, while mainting plenty of gore.
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Cecilia Milocco in ‘Knackningar (Knocking)’
Directed by Frida Kempff and written by Emma Broström, the film stars Cecilia Milocco as a woman named Molly who is recovering from a nervous breakdown after experiencing an extreme loss. After checking out of a psychiatric ward and moving into a new apartment complex, she begins hearing mysterious knocking sounds. Paranoia sets in when no one in the mysterious complex believes her.
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Brea Grant in ‘Lucky’
The life of self-help author May (Brea Grant) spirals out of control when she finds herself battling a mysterious faceless assailant night after night. When no one seems to notice or care, she is pushed to her physical and psychological limits as she attempts to rid him from her life for good. Kermani and writer-star Grant’s incisive look at the terror of just being a woman in this world will linger in your mind long after its flashy finale.
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Barbara Hershey in ‘The Manor’
Also part of Welcome To The Blumhouse, writer-director Axelle Carolyn’s gothic thriller stars Barbara Hershey as Judith Albright, a woman who moves to Golden Sun Manor assisted living after suffering a mild stroke. While fighting for her agency, she begins to believe there is a sinister presence haunting the residents of the manor. Teaming up with fellow resident Roland (Bruce Davison), the two attempt to escape their confines rather than succumb to the evil forces surrounding them.
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Kiera Thompson in ‘Martyr’s Lane’
While living in a remote vicarage with her parents and surly older sister, 10-year-old Leah (Kiera Thompson) meets a strange girl in tattered angel wings while playing in the woods. Each time the girl visits Leah finds new clues to an old mystery that may cause her family’s fraught dynamics to unravel completely. Although she doesn’t quite stick the landing, with this film writer-director Ruth Platt offers a unique twist on the ghost story genre.
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Martina García in ‘Phobias’
In this anthology film each director brings a unique phobia to graphic life. Using a frame narrative to connect the five entries, their stories cross paths at a government testing facility where a crazed doctor attempts to weaponize fear. Watch out for a chilling performance from Macy Gray.
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Rose Williams in ‘The Power’
Set during power outages caused by a miners’ strike in early 1970s London, the film centers around Val (Rose Williams), a nurse in training. Spending her first night working in the East London Royal Infirmary in near total darkness, she begins to suspect there is something sinister lurking in the walls.
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Jennifer Ehle in ‘Saint Maud’
After a critically praised debut at the Toronto International Film Festival in 2019, writer-director Rose Glass’s psychological horror debut finally hit stateside earlier this year. Having recently converted to Roman Catholicism, hospice nurse Maud forms an unhealthy obsession with a former dancer in her care (Jennifer Ehle). Featuring a shocking finale, Oscar-winner Danny Boyle is among the film’s most ardent supporters, calling it “genuinely unsettling.”
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Romane Denis in ‘Slaxx’
In this horror-comedy, co-written with Patricia Gomez, writer-director Elza Kephart tackles the real life horrors caused by fast fashion. As a possessed pair of jeans goes on a killing spree inside a hip boutique overnight, new hire Libby McClean (Romane Denis) fights to escape the denim demon.
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Najarra Townsend in ‘The Stylist’
One day a lonely hair stylist (Najarra Townsend) who works from home snaps and kills a client (Brea Grant), leading her down a path of continued bloodlust that changes her life forever. Praised for its sharp comedy and stylish kills, Gevargizian’s film is a welcome entry into the slasher canon.
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Agathe Rousselle in ‘Titane,’ directed by Julia Ducournau
In this Cannes Palme d’Or-winning flick Alexia, a showgirl (Agathe Rousselle) at a motorshow with a titanium plate implanted in her head from a childhood crash, gets impregnated by a Cadillac and goes on a serial killing spree. On the run from the cops, she impersonates the long lost son of a fire chief named Vincent (Vincent Lindon). Equally as tender as it is disgusting, Ducournau is the reigning queen of body horror with heart.
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Amanda Seyfried in ‘Things Heard & Seen’
Based on the novel “All Things Cease to Appear” by Elizabeth Brundage, Berman and Pulcini use the philosophies and mysticism of Swedish pluralistic-Christian theologian and scientist Emanuel Swedenborg to put a new spin on the ghost story genre, while also exploring the dynamics of a fatally toxic marriage. The impressive cast includes Amanda Seyfried as Catherine, James Norton, Natalia Dyer, Karen Allen, and F. Murray Abraham.
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Madeleine Sims-Fewer in ‘Violation’
Playing both the 2020 Toronto International Film Festival and the 2021 Sundance Film Festival, this Canadian horror-drama follows Miriam (Madeleine Sims-Fewer), a traumatized woman on the edge of divorce who returns home for the first time in years. After her estranged sister and brother-in-law betray her trust, she seeks revenge in a most deranged and vicious manner. Praised for its rage and intensity, Sims-Fewer and Mancinelli’s film is a bold take on the revenge genre.
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A sink test scene in ‘Witch Hunt’
Set in a version of contemporary America where witches are real and witchcraft is illegal, a teenage girl (Gideon Adlon) faces her own prejudices as her mom (Elizabeth Mitchell) begins offering assistance to the orphaned children of witches seeking asylum in Mexico. While the metaphor isn’t always in the best taste, Callahan’s film continues the tradition of using the witch genre as a mode to express cultural criticism.
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