the rating: ****
the story: Indy has a chance for one last great archeological find.
the review: I now have my second favorite movie in the series. And who knows? It might even become my favorite. This is not likely something you've heard about Indiana Jones and the Dial of Destiny before. Certainly not with someone saying their favorite is Indiana Jones and the Last Crusade. I don't come to the franchise as a diehard believer. I caught up with Raiders of the Lost Ark much later than other fans. To me it's the first movie (and Temple of Doom is just another in the series). I liked Kingdom of the Crystal Skull, thought it was inconceivable that Lucas and Spielberg struggled to make what was such an obvious entry in the series (aliens) for the kind of careers each otherwise had. But it took James Mangold to reach Dial of Destiny, which achieves its greatness in much the way he did with Logan.
By finally just doing the kind of story that should have been told in the first place.
Henry Jones is an adventurer. But that's just the stories he finds himself in. He's actually, in his normal life, a professor, a lover of history, who sometimes goes on archeological searches, which happen to blow all out of proportion. But mostly a lover of history. I think Dial of Destiny is the first time that's really emphasized. By the time we reach the ending (anyone quibbling about what happens is perhaps forgetting about the leaps of faith the other entries ask of us), it's what he always wanted, the thing that he was destined to experience all along.
Mangold previously achieved this with Logan, as I said, the first and to date only Wolverine appearance from the X-Men film franchise to stop worrying so much about superhero adventures and just let the guy be himself, in his own life. The Wolverine, which was supposed to be the one that fixed that, buried him in a moody superhero adventure anyway. X-Men Origins: Wolverine tossed him throughout the timeline, and forgot who the villain was supposed to be (Victor Creed, not Deadpool, regardless of how he was portrayed). Logan made up for all of that. It told a complete story, and even played out symmetrically with the first standalone movie (by having Wolverine fight himself, it finished the story the first one abandoned). It also let him by the hero in an X-Men movie, which the X-Men movies kept dancing around, even when it was clear he was the star.
Dial of Destiny throws the accustomed Nazis at Indy, enemies and allies to work off of, but for the first time it's not the adventure that drives the plot (as with a lot of modern filmmaking the screen is too dark anyway) but rather the awareness that Indy himself is the star, which is also why Last Crusade worked so well, because it put the focus on Indy and his dad (which is what inspired the National Treasure movies). While Disney continues to marvel at the technology that allows it to de-age faces, it's the older Indy that fascinates, and he's still very much up to the task, incredibly, all these years later. And at five films and a little over forty years, we've gotten to see a complete arc of the good professor's life.
What's most remarkable, perhaps, is that if you were to watch only one Indiana Jones movie, you could absolutely make the case for it being Dial of Destiny. Partisans will always default to Raiders, while Last Crusade has its selling points, too, but Destiny has young Indy, and it has old Indy, essentially a complete arc unto itself, and a single story uniting both, and a story linking his teaching life definitively to his private life. It's all there. That's why it's easy to sell.
Rounding out the cast this time are Antonio Banderas (I confess to missing everything but a glimpse of him), Mads Mikkelsen as the obligatory Nazi, Boyd Holbrook (who was also a standout in Logan), and Phoebe Waller-Bridge as a more youthful audience surrogate in case you're not that interested in seeing old bones revisited.
They say this is the last one. It should be. What a way to go!
