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But back to the action/adventure stuff. Before he can put his retirement gift away, Indy is whisked off on an adventure with Helena Shaw (Phoebe Waller-Bridge), the daughter of Basil and goddaughter of Indy. It turns out that Basil became obsessed with the dial after their encounter with it a quarter-century ago, and Indy told him he would destroy the half of the dial they found. Of course, Indiana Jones doesn’t destroy historical artifacts. As they’re getting the dial from the storeroom, they’re attacked by Voller and his goons, leading to a horse chase through the subway during a parade. It’s a cluttered, awkward action sequence with power that’s purely nostalgic—an iconic hero riding a horse through a parade being thrown for someone else.
Before you know it, everyone is in Tangier, where Helena wants to sell her half of the dial, and the film injects its final major character into the action with a sidekick named Teddy (Ethann Isidore). From here, “The Dial of Destiny” becomes a traditional Indy chase movie with Jones and his team trying to stay ahead of the bad guys while leading them to what they’re trying to uncover.
James Mangold has delivered on “old-man hero action” before with the excellent “Logan,” but he gets lost on the journey here, unable to stage action sequences in a way that’s anywhere near as engaging as how Steven Spielberg does the same. Yes, we’re in a different era. CGI is more prevalent. But that doesn’t excuse clunky, awkward, incoherent action choreography. Look at films like “John Wick: Chapter 4” or a little sequel that’s coming out in a few weeks that I’m not really supposed to talk about—even with the CGI enhancements, you know where the characters are at almost all times, what they’re trying to accomplish, and what stands in their way.
That basic action structure often falls apart in “The Dial of Destiny.” There’s a car chase scene through Tangier that’s incredibly frustrating, a blur of activity that should work on paper but has no weight and no real stakes. A later scene in a shipwreck that should be claustrophobic is similarly clunky in terms of basic composition. I know not everyone can be Spielberg, but the simple framing of action sequences in “Raiders of the Lost Ark” and even “Indiana Jones and the Last Crusade” is gone here, replaced by sequences that cost so much that they somehow elevated the budget to $300 million. I wished early and often to see this movie’s $100 million version.
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