Voller is alive and well and has been working for the US government (not that any satirical mileage is made of that), so soon the goodies and baddies are chasing each other through the usual caverns, temples and dusty marketplaces of the Mediterranean Basin. Of course, Helena isn't the only person on its trail. But then his goddaughter, Basil's hearty archaeologist daughter, Helena (Phoebe Waller-Bridge), turns up to ask him about Archimedes' doohickey, which has been missing for decades – and which, wouldn't you know it, has been split into two pieces so as to add to the questing possibilities.
There is no sign of the wife and son he had at the end of The Kingdom of the Crystal Skull – Shia LaBeouf may not be missed, but Karen Allen certainly is – and in general he seems to be as much of a relic as the ones he likes to unearth. Indy is now about to retire from a dispiriting teaching job in New York. What's worse is that when the film jumps forward to 1969, the CGI-heavy unreality persists. Indeed, this over-long prologue doesn't just hark back to the train set piece at the start of The Last Crusade, it's reminiscent of Spielberg's performance-capture Tintin cartoon, in that the narrow escapes are theoretically exciting, but are too obviously fake to set the pulse racing. Speaking of "fissures in time", Ford has been digitally de-aged to have the smoother face and thick brown hair he had in Raiders of The Lost Ark, but he gives off the uncanny-valley vibe of someone who isn't quite real. Bearing a distinct resemblance to the alethiometer in Philip Pullman's The Golden Compass / Northern Lights, this steam-punk instrument doesn't just use mathematics to predict storms and earthquakes but "fissures in time", hence a Nazi physicist, Voller (Mads Mikkelsen, doing the Euro-villain thing he does so well), is keen to get his hands on it, too. Indy and his buddy Basil (Toby Jones, echoing Denholm Elliott's bumbling Britishness) are trying to stop the beleaguered Nazis retreating to Berlin with a trainload of looted antiquities, and the one that catches their eye is a hand-held contraption constructed by Archimedes. The feeling that it isn't as exhilarating as you might have hoped creeps in during a prologue set in the dying days of World War Two. The Dial of Destiny takes a sudden, bold and sure-to-be divisive swerve into wacky uncharted territory in its last half-hour, but otherwise it's like fan fiction, a tie-in video game, or a branded theme-park ride, in that it's content to tick off everything you've seen in other Indiana Jones films already, but with little of Spielberg's sparkle. The bad news is that a disaster might have been more worthwhile. It's a respectable, competent addition to the series. The good news is that it isn't a disaster. Fast X is 'preposterous from beginning to end' On this occasion, though, he is 80 years old (two decades older than Sean Connery was when he played Indy's doddering dad in The Last Crusade), and the film isn't directed by the series' co-creator, Steven Spielberg, but by James Mangold, so Indiana Jones and the Dial of Destiny has the potential to be a disaster. It's been 34 years since the film that was supposed to be his farewell outing – it even had "Last" in the title – and 15 years since he returned in Indiana Jones and the Kingdom of the Crystal Skull, but Harrison Ford has donned his brown fedora and leather jacket for a fifth and surely final time.
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