What they did manage to make would be perfectly fine as a standalone adventure film starring some other character, but it’s not worthy of the whip. One can feel the four credited screenwriters grasping at inspiration and coming up short. The bad news is that it’s not much better. The good news is that it’s not as poor as Indiana Jones and the Kingdom of the Crystal Skull. If you join him for the ride, it feels like a fitting goodbye to cinema’s favourite grave-robber. He plays even the flimsiest scenes with conviction and dry humour.
He never loses either his scowl or his doggedness. The camera rarely creates meaning on its own, except when there’s a familiar brown fedora somewhere on screen, at which point it charges towards it like a happy pup reuniting with its owner – a shot that repeats on at least four separate occasions. Mangold may not have the young Spielberg’s musical flair for extravagant action choreography (who does?), but he is a tougher, leaner director, using a tighter frame and keeping his camera close. The problem is that it already did, and today feels like a complete waste of time. “Yesterday belongs to us,” someone says at one point, and when it comes to Indiana Jones, yesterday always will. It ultimately feels like a counterfeit of priceless treasure: the shape and the gleam of it might be superficially convincing for a bit, but the shabbier craftsmanship gets all the more glaring the longer you look.
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This is a big, bombastic movie that goes through the motions but never finds much joy in the process, despite John Williams’ hard-working score continuously pushing our nostalgia buttons and trying to convince us we’re on a wild ride. Indiana Jones still has a certain old-school class. Yet the finale is wildly silly and entertaining, and that Dial of Destiny is put to an audacious use which makes light of the whole question of defying ageing and the gravitational pull of time. It is probably a bit cheeky to be giving Ford a young female co-star under this “goddaughter” tag, with a bantering tension that is really not too different to a (platonic) co-star he might have had in the original movies. It’s the fifth installment of the “Indiana Jones” franchise, and though it has its quota of “relentless” action, it rarely tries to match (let alone top) the ingeniously staged kinetic bravura of “Raiders of the Lost Ark.” “Indiana Jones and the Dial of Destiny” is a dutifully eager but ultimately rather joyless piece of nostalgic hokum.
I’m fortunate that my local IMAX is nearby and has laser with 12-channel sound, so I’m already booked in and am hopeful it doesn’t disappoint.Rotten Tomatoes : 52% (29 Reviews) - 5.7/10 Average Rating
It probably still better than waiting to watch it at home but unless you have to watch the cents and dollars I’d go for any of the other formats. Finally, the non-standard showings are completed with ScreenX, which delivers a 270-degree extra-wide panoramic view with extra image to the side of the main screen.Īfter all that the final choice is a rather mundane one – a regular, standard screen, with average to small screens, 2D picture quality and basic 5.1 surround sound. Indiana Jones and the Dial of Destiny is also available in 4DX, which delivers a “theme park”-like experience complete with thumping, moving seats, air, water, flashing lights and smoke and can be really fun. These are known by different names in each chain so in the USA look out for Regal RPX, Cinemark XD or Cineplex UltraAVX, while in the UK, you’ll find them as Empire IMPACT, Odeon iSense or Cineworld Superscreen. A really great mix with normally lower prices than IMAX and Dolby. If neither is available to you, then the next best option will be other Premium Large Format screens, which marry larger than standard screens with 4K projection and Dolby Atmos sound.
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