“They look like snakes.”

“INDIANA JONES AND THE DIAL OF DESTINY” faces the daunting task of living up to its legendary name and the infamous Indiana Jones trilogy, which as we know is regarded in some circles as one of the greatest film series of all time. Then there is this. “They look like snakes.” It’s such a simple line of dialogue, yet after 42 years and four previous movies, we know exactly what that means to retiring archaeology professor, Dr. Henry Jones (Harrison Ford), best known to all as our infamous adventurer Indiana Jones.

As the final chapter of the beloved franchise comes to and end with “Dial of Destiny,” this entry is the first one not directed by the legendary Steven Spielberg (listed here as an Executive Producer). Instead, director James Mangold takes the reins, and shares writing credit with his frequent collaborators Jez Butterworth and John Henry Butterworth, as well as “Indiana Jones” veteran David Koepp. Of course, George Lucas and Philip Kaufman receive credit for their original characters.

With Harrison Ford donning the now familiar hat and whip at 80 years old, yet he still possesses some of the screen persona and magnetism that first won us over in “Raiders of the Lost Ark”. The extended and frenetic opening sequence finds a young Indy (Ford is digitally de-aged for the sequence), at the tail end of WWII fighting Nazis over what else, a prized ancient artifact. I’ll leave the specifics to those who watch the film, but just know that it’s an interesting historical choice, as there is always one thing these films have done well – give you an input into just an inkling of how horrid the Nazi’s really were and are.

Working alongside Indy in the opening sequence is his friend and fellow archaeologist, Basil Shaw (Toby Jones). However, the fun part might just be seeing Nazi Col. Weber (Thomas Kretschmann) and Dr. Voller (Mads Mikkelsen), as they share their diabolical scenes respectively along with a good helping of Nazi punches. Although Mikkelsen’s character gets significant screen time and plays a crucial role in how the story unfolds and concludes – he is also digitally de-aged for the opening sequence.

The story picks up with modern day Dr. Voller and his band of deviant Nazi’s with Klaber (Boyd Holbrook), being his right-hand man, as they are tracking down the relic and disturbing Dr. Jones’ retirement party. It’s at this point where Indy’s god-daughter Helena (Phoebe Waller-Bridge), pops up creating a three-way battle for the priceless relic. This sets off a chain of events that leads them on a global trek to desert, sea, and hallowed cities of antiquity. Helena’s partner in crime is young Teddy (Ethann Isidore), who is clearly the scrapper of the bunch. Dr. Voller’s troupe includes the misguided Mason (Shaunetta Renee Wilson), the sleazy Klaber, and Hauke (Olivier Richters), as one of the largest bodyguards you’ve ever seen.

Not to be overshadowed, John Williams’ timeless score sweeps through the film with an air of grandeur, resonating with audiences from the first iconic notes. The music effortlessly transports viewers into the adventurous world of Indiana Jones, sending chills down their spines and setting the stage for a captivating journey. Fans of the franchise know that the story is secondary to the characters and action, and there is no shortage of action on speeding trains, galloping horses, motorcycles, tuk tuks, vintage airplanes, and scuba dives. Antonio Banderas shows up in a beautiful little role, (reminiscent of the old boat capitan in “The Old Man and The Sea), as Renaldo, a boat-owning old friend of Indy, but it’s the appearance of series favorites John Rhys-Davies as Sallah, and still beautiful and wonderful, Karen Allen as Marion, that generates the loudest cheers from the audience.

Waller-Bridge starts off pulling a Bryce Dallas Howard in Jurassic Park by leaping New York City apartment rooftops in heels – come on, no one does that or can do that. She does end up growing on you a bit more as the film moves along, but honestly the duo of her and Ford lack the real chemistry he has had with so many of his other co-stars of the franchise. She isn’t terrible at all; you just never buy their relationship for entirely. Mads Mickelson is well… Mads. As always, he is the perfect villain and as reliable as ever. He always delivers, so no complaints at all on his delicious performance here that is maybe, and this is a big maybe, only secondary to Ethann Isadore’s – who quite literally steals every scene he is in. His scrappy character is loveable and humorous, as well as the sturdy side-kick that surpasses his accomplice in crime – Waller-Bridges, at all times here.

What is seen here is a film made by a director who understood the what he was going into, as well as respects, and enjoys this character. He crafted a hearty adventure story that adds depth to Jones and sends him off fondly althought not perfectly, which is just what maybe we all needed. The story’s ambition requires a LOT of CGI, and it’s more noticeable than it should be at times. You do realize as well that at times that you are watching an 80-year-old man run, and you again realize maybe it is, maybe it isn’t, but there are just the right number of jokes made about said age to make it not to be taken seriously.

At times this feels like a live action cartoon, and that’s not meant as criticism. It’s pure fun, fantasy, and adventure cloaked in nostalgia; and the film is a fitting conclusion to a world class franchise. “Indiana Jones and the Dial of Destiny” serves as a bittersweet but delightful swansong for Harrison Ford’s iconic hero. While not without its flaws, the film embraces its imperfections and delivers an enjoyable experience that fans will appreciate. It often feels like a lovingly crafted “greatest hits” compilation, featuring familiar set pieces and relationships with a fresh twist. And you know what? That’s perfectly fine.

Grade: C+

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“INDIANA JONES AND THE DIAL OF DESTINY” FROM DISNEY PICTURES IS OUT IN THEATERS FRIDAY, JUNE 30, 2023

Review Screening: Wednesday, June 14, 2023 ~ Courtesy of Disney/Lucas Film.