The final crusade of Indiana Jones and his quest to put historical artifacts where they belong, “in a museum,” has come to a close. With Dial of Destiny, filmmakers share the story of an Indy of the 60s who, with the aid of buddy Basil Shaw’s (Toby Jones) archaeologist daughter (Phoebe Waller-Bridge) seeks to find the missing piece of Archimedes’ time-travel dial before (wouldn’t be the Indiana Jones episode without ‘em) the nazis do. 

A Box Office Pro prophecy hints that the wave of nostalgia we’re still riding could carry audiences into theaters with at least a portion of the success that worked in Top Gun: Maverick’s favor. Maverick similarly premiered over a long summer holiday weekend, increasing the likelihood of success. Box Office Pro also claims, “Early pre-sales are respectable when given proper context, i.e., the glut of male- and fan-driven films opening before Dial of Destiny hits theaters in June.” The summer lineup is stacked between John Wick, Guardians of the Galaxy, Mission Impossible, Fast X, and The Flash. Almost surprisingly, with the facts stacked, Dial of Destiny “is currently pacing ahead of John Wick: Chapter 4 and Fast X.”

Meanwhile, the first set of reactions is in from Cannes. The next will be coming from India as Disney announced the movie would be released one day early in Indian theaters. From France to India to the U.S., regardless of forecasting, there is all the proof in the pudding that the world in full circumference loves Indiana Jones. And how could we not? This series had everything in its arsenal to fire off a massive hit from the get-go. An official marriage in creative collaboration between cinema darlings George Lucas and Steven Spielberg brought us: A main character with all the charm, guts, and archaeological integrity, bucket list destinations, daring stunts, and endless thrilling adventure around every historical landmark corner.

But can the newer movies stand a chance of holding a candle to the original flame? Due to our modern age, the movie sure wasn’t shot on film, and likely wouldn’t dress the set with two dozen real tarantulas, or 2,000 rats, and certainly not 2,000 snakes plus an additional 4,500 because the original 2,000 weren’t filling enough of the wide shot. Though Spielberg himself (executive producer) was pleased as punch over this newest flick, the critics are making it pretty loud and clear that they’ve got some differing opinions. 

Dial of Destiny currently sits with a 50% rating on IMDB and Rotten Tomatoes after its Cannes premiere with write-ups along the lines of; “… a dutifully eager but ultimately rather joyless piece of nostalgic hokum.” from Variety. “Unfortunately, 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,” says Robbie Collin at the Daily Telegraph. And finally, Donald Clarke, at the Irish Times, offers, “We have lived with worse.” Mr. Clarke is presumably referring to the 2008 installment. Coming off the severed tail of that picture, Dial of Destiny waits for its wide release later this month with a new trailer and an old, familiar feeling of worry from audiences who remember Kingdom of the Crystal Skull.

What do you say, though, that for now, we let bygones be bygones and say ‘be-gone’ to the precious noggins of the past and embrace the possibility of a 2023 shake-up of our old favorites? Almost without a doubt, Dial of Destiny will contain many classic elements with George Lucas and Philip Kaufman (two of the three writers of the original Raiders of the Lost Ark) behind the story creation. Then to add shake to the ol’ bake, only well-rehearsed professionals were brought on to craft the feature film screenplay itself. James Mangold (also the film’s director) has a plethora of quality entertainment under his belt in the same writing/directing combo category with Logan, ‘Girl, Interrupted’, and Walk the Line. 

Next on the writing team lineup is a longtime participant in crafting screenplays based on existing IP- David Koepp. He wrote on Jurassic Park, Spiderman (2002), Spielberg’s War of the Worlds, Jack Ryan, Mission Impossible, The Mummy (2017)… and The Crystal Skull. Jez Butterworth and John-Henry Butterworth are the newest additions to the Indy cinematic universe. These two already had camaraderie in the bag, coming into the world as brothers and then into the industry as scriptwriters, working on Ford V. Ferrari and Edge of Tomorrow. 

In writing the latest Indiana Jones script, Jez Butterworth said; 

”We’d be sitting there behind the eight-ball, and the thing that would get us out every time was just how much fun it is to think about Harrison doing these things. We’d think, ‘What awful situation do we want to put him in and watch him get out of?”

John Henry elaborated on shooting what they’d scribed in the same interview. “It was an extremely old-school endeavor. Dollies and track and sliders and anamorphic lenses. Old-school lighting, beautiful sets, traveling around the world, and physical stunts.” Old-school lighting and the physical stunts sound like all of the Raiders nostalgia we want, but The Times had a different take on the finished project. After the showing, they wrote that the chase sequences overwhelm a film with “slender bits of plot” they’re “so heavily CGI’ed that they come off as grimly dutiful rather than thrilling or delightful.”

Despite this, we refuse to give up hope that we’ll be at least moderately delighted! After all, we’re putting our chips of faith in the two writers from the expertly action-sequenced Edge of Tomorrow. That was a film whose repetitive nature would have fallen on a flat plot without the constant introduction to higher stakes that followed the repeated ones. They made it work. That movie was great! The Butterworth boys are the most likely candidates to lend the franchise an excellent platform for well-paced action. 

Audiences love the Indy series for the action and its track record of great characters. Returning to his fedora-topped status is Harrison Ford, leading the adventure one last time. His final ride as Indiana Jones, a character he first brought to life 41 years ago, culminated in a 5-minute standing ovation at Cannes and an honorary Palme d’Or. After talking with the press afterward, Ford gushed about his good time working with this cast and director during their worldwide filming extravaganza. It’s precisely what you want to hear in a movie like this.

Unlike the headliner, this is Phoebe Waller-Bridge’s first time getting dirty with the stunts of a leading action-adventure character. As a swashbuckling companion, her role looks thankfully more capable than Willie, significantly less ‘Nazi’ than Elsa, and doesn’t have the adolescent romantic history that Marion carried. Instead, we’re given a refreshing female partner without ideological affiliations and a backbone to boot! Waller-Bridge describes her character Helena as “manipulative,” “smart,” and “a survivor,” which sounds like the fully fleshed-out character that we’d hope for but also expect from the Fleabag creator. 

Following behind those two-star attractions comes Mads Mikkelsen as Jürgen Voller, our necessarily power-hungry villain coming to take the dial for goals outside museum stewardship. You may remember that Mikkelsen already earned his lousy boy badge back in 2006’s Casino Royale, on top of his multiple franchise roles- This man does not disappoint. Next to him and working as an ally is Boyd Holbrook (Narcos), who previously worked with Mangold on Logan. 

Then back on the good-guy team, we welcome the return of John-Rhys Davies with open arms and lots of confetti. To the man who played a big hunk of charisma in the Raiders and Last Crusade, it’s good to have you home. Not returning, but a familiar face of a newcomer, the one and only Antonio Banderas swoops in as a friend of Indy’s (makes complete sense), but for reportedly too short of a time. It’s fine; we’ll graciously gobble whatever few minutes of Banderas you can give us. 

This selection of prizefighters in front and behind the camera, the built-in fan base, and the nostalgia era have our sights set on an optimistic future for the film’s wide release. But when it comes to its box office success, we have to factor in the massively anticipated films coming out all around it. When it comes to the quality of the picture itself… we’re looking at genuinely middling reviews and a previous movie that was… not loved. No wonder there’s such a 50/50 divide. 

What say you? Will you turn out to salute Harrison Ford on his last adventure? Or to see Fleabag blossom in a new era? Maybe you’re interested in catching the latest stunts from the Edge of Tomorrow duo. Perhaps you’re wondering, like us- how they will explain Indy’s son Shia LaBeouf’s mysterious absence from the cast list. Or maybe you want to see if that flame you’re holding for the 80s Spielberg memories can be reignited. There’s a slew of reasons to visit this fifth installment and only one way to uncover the mystery truly. To see it for yourself. The film is currently forecast for a $60 million+ opening weekend, but whether you and the masses will be dialing in is something only the domestic gross of Destiny will be able to reveal.