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Review: Harrison Ford gets swashbuckling sendoff in BԪַDial of DestinyBԪַ

StarBԪַs farewell to the Indiana Jones franchise a dignified sendoff to one of cinemaBԪַs best castings
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This image released by Lucasfilm shows Ethann Isidore, from left, Harrison Ford and Phoebe Waller-Bridge in a scene from BԪַIndiana Jones and the Dial of Destiny.BԪַ (Lucasfilm Ltd. via AP)

Goodbyes donBԪַt tend to mean much in the Hollywood franchise system. Death isnBԪַt a reliable end for characters or, lately, even actors.

Technology, nostalgia and the often-inflated value of brands and IP have created a nightmarish cycle of resurrection and regurgitation, curdling what we love most.

And yet when someone like , for better or worse, you believe him. BԪַIndiana JonesBԪַ producer Frank Marshall has also said that they wonBԪַt recast the character, which seems more dubious and, though well-intentioned, something he wonBԪַt be able to guarantee. All it takes is a new executive demanding a reboot.

Not that it would ever really work, though. Any self-respecting movie fan knows the truth: The magic of Indiana Jones belongs wholly to Harrison Ford.

Apparently, he doesnBԪַt even necessarily need Steven Spielberg behind the camera, though, to be fair, the foundation was well-laid for a veteran like . But there is no Indy BԪַ none that we care about anyway BԪַwithout Ford.

In this way, itBԪַs hard not to go into BԪַIndiana Jones and the Dial of Destiny,BԪַ in theaters Friday, without a sense of melancholy BԪַ not exactly the ideal state of mind for what should be, and mostly is, a fun summer blockbuster. But it certainly adds a poignancy to the whole endeavor whether the film merits it or not.

If only it didnBԪַt start with that pesky de-aging technology (the best itBԪַs ever looked but it remains unsettling), giving us a 45-year-old Indiana Jones doing some of the wildest stunts weBԪַve ever seen our beloved archeology professor attempt BԪַ atop a speeding train to boot. This sequence is ostensibly there to introduce the filmBԪַs MacGuffin, Archimedes Antikythera, a real celestial calculation machine with extraordinary predictive capabilities that in the film is bestowed with some otherworldly powers.

But we know the real reason: ItBԪַs there to let us gaze at that familiar face and to go on one last adventure with the Indy we grew up with, before being thrust back reality with a nearly 80-year-old Ford (heBԪַs 81 in July) playing a 70-something Indy.

This isnBԪַt inherently sad, but Dr. Jones is certainly reintroduced in the most unglamorous way possible: Sleeping on a reclining chair in a sad New York apartment, a glass of something alcoholic in his hand and threadbare boxer shorts on his person. HeBԪַs depression personified, retiring from the university where the kids barely pay attention to him anyway (long gone are the BԪַI love youBԪַ eyelids), estranged from Karen AllenBԪַs Marion and watching the world go space crazy around him.

WeBԪַll have to see him work back up to his adventuresome self. No training montages required, thankfully, just a plane ticket, his classic uniform (still fits!) and his old improvisational spirit.

The cumbersome plot (script is credited to Jez Butterworth, John-Henry Butterworth, David Koepp and Mangold) strains to justify and give meaning to the search for the Antikythera: The FBI is on the hunt for it, as is Nazi scientist Jürgen Voller (Mads Mikkelsen) for whom the war hasnBԪַt ended, and the daughter (Phoebe Waller-Bridge) of IndyBԪַs late partner Basil (Toby Jones) who was driven mad by the gadget.

ItBԪַs a bit much, as are many of the overly elaborate and strangely murky-looking action sequences from the train in 1944 to a deep-sea diving sequence with killer eels. The movie hits its action high notes when it sticks to the tactile classics, like a brilliantly executed rickshaw chase in Tangier.

Waller-BridgeBԪַs Helena is an enormously enjoyable character, too BԪַ a brilliant archeologist herself whoBԪַs chosen a more glamorous, dangerous and decidedly black market kind of existence, selling stolen antiquities to the worldBԪַs wealthiest and working her way out of debt. SheBԪַs introduced as a wild card and a lot of the tension is derived from whether Indy should trust her.

ItBԪַs a very good non-romantic pairing of sharp-witted old souls, a generation apart. But youBԪַd think in an almost two-and-a-half-hour film there might have been more time for one of our returning favorites, like John Rhys-Davies Sallah (he does get a few good moments).

IBԪַm not sure anyone had an especially burning need to know what Indiana Jones was up to lately, but at least it gives everyone a chance to end on a higher note than BԪַKingdom of the Crystal Skull.BԪַ Or maybe Ford just needed some closure on one of his iconic characters so that everyone will stop asking him about them.

BԪַIndiana Jones and the Dial of DestinyBԪַ might not be BԪַRaidersBԪַ or BԪַThe Last CrusadeBԪַ but itBԪַs solid, swashbuckling summer fare and a dignified sendoff to one of cinemaBԪַs most flawless castings.

BԪַIndiana Jones and the Dial of Destiny,BԪַ a Walt Disney Co. release in theaters Friday, is rated PG-13 by the Motion Picture Association for, BԪַlanguage, action, sequences of violence, smoking.BԪַ Running time: 144 minutes. Two and a half stars out of four.

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