'Indiana Jones and the Dial of Destiny' Review

 

Synopsis: Archaeologist Indiana Jones races against time to retrieve a legendary artifact that can change the course of history.

Runtime: 142 minutes

MPAA Rating: PG-13 (for sequences of violence and action, language, and smoking.)

Who should see it? Fans of Harrison Ford and Indiana Jones eager to see the final installment in the franchise.

Raiders of the Lost Ark debuted in movie theaters 42 years ago. From the creative minds of George Lucas and Steven Spielberg, an iconic action hero was born. Regardless of your feelings towards Raiders, Temple of Doom, Last Crusade, or Kingdom of the Crystal Skull, the character of Indiana Jones has endured and remains one of the most daring heroes to ever grace the silver screen. I'm not here to relitigate those films but think it's worth mentioning that I enjoy all four to varying degrees. Alongside Star Wars, the Indiana Jones series is another Lucasfilm franchise that meant a lot to me growing up. Needless to say, I was very excited when a fifth entry was announced. At the time, Spielberg was set to direct. It felt serendipitous that Spielberg and Harrison Ford would explore the aged archeologist in his twilight years. Though, it can certainly be argued that they'd done so already in Kingdom of the Crystal Skull... 

In the seven years since a fifth Indiana Jones movie was announced, several screenwriters came and went while Spielberg ultimately vacated the director's chair. Spielberg remained an executive producer on the project but wanted to pass the bullwhip off to another filmmaker for a fresh perspective. James Mangold was then brought on and had the unenviable task of stepping into the shoes of Steven Spielberg, not to mention bringing this beloved series to a close. To further complicate matters, Harrison Ford was 78 years old when the cameras started rolling and production found itself amidst a global pandemic. To say Dial of Destiny had a troubled production would be putting it mildly. 

Ford sustained a shoulder injury while rehearsing a fight scene, and was unable to film for three months, but Mangold persevered. Action scenes involving Indy were shot with a stunt double, and Ford's face was digitally imposed in post-production. Meanwhile, the production budget ballooned to nearly $300 M, making Indiana Jones and the Dial of Destiny one of the most expensive movies ever made. I preface my thoughts on Dial of Destiny with all of this because I think it's worth noting all the hurdles Mangold and his crew had to overcome. And I commend them for that. 

Unfortunately, I left the theater disappointed by Dial of Destiny. As I alluded to earlier, even the lesser Indiana Jones adventures benefited from simply having Steven Spielberg behind the camera. He's one of the greatest living filmmakers, so his direction tends to elevate even subpar scripts. I admire much of Mangold's work, and Ford v Ferrari actually gave me the confidence he'd be a natural fit for an Indiana Jones movie. Ford v Ferrari marries the sensibilities of old-school storytelling with contemporary filmmaking. With Indiana Jones, George Lucas and Steven Spielberg delivered thrilling action and adventure that harkened back to pulpy serials while pushing the boundaries of special effects. Spielberg's successor needed to follow suit if they hoped to recapture the spirt of the series.

Dial of Destiny underwhelmed me for many reasons, but the source of my disappointment can be traced back to a half-baked script and uninspired filmmaking. The ending of the film is functional, but the payoffs don't feel earned. The groundwork for a bonkers and mostly satisfying third act has been haphazardly lain. Mangold seems to be interested in the idea of Indiana Jones being past his prime, yet Indy's age is not actively an impediment to the action. It's occasionally brought up as a means of comic relief or a slight inconvenience, but Indy marches on. He rarely struggles as a result of pushing 80 years old, so the discussion around it fails to resonate as intended. He rides a horse through New York City and jumps between moving tuk-tuks in Morocco with youthful vigor. He sure doesn't seem 80!

For a series that's usually highly regarded for its craft, Indiana Jones and the Dial of Destiny is a pale imitation of everything that came before it. James Mangold is no Steven Spielberg. Nobody is. But I've seen plenty of evidence throughout Mangold's filmography that he is a talented director capable of greatness. Indiana Jones is synonymous with thrilling adventure, yet the action is dull and woefully generic. The set pieces are frenetically edited, and lack visual clarity and a sense of geography, making it very difficult to follow along. Aside from featuring a rousing John Williams score and some familiar faces, Dial of Destiny is indistinguishable from other contemporary blockbusters. 

Donning the trademark fedora for his final adventure, Harrison Ford is actually one of the film's saving graces. Despite his age, there is no question of Ford's commitment to closing out this chapter of his career. Opposite Ford as Indy's god-daughter, Phoebe Waller-Bridge brings a sardonic wit to Helena Shaw that reminded me of her character from the Prime Video series Fleabag. Unfortunately, this feels woefully out-of-place and I found the character a tad obnoxious for the first two-thirds of the movie. Her one-liners felt far too modern seeing as Dial of Destiny was set in 1969. There's also not enough attention devoted to their relationship, so the eventual resolution of that storyline feels insincere.

Among the supporting cast, Indy has plenty of new allies and adversaries portrayed by Ethann Isidore, Toby Jones, Antonio Banderas, and Mads Mikkelsen among others. Isidore's Teddy serves as this film's Short Round analog, tagging along with Helena for the adventure. Mikkelsen's Dr. Voller quickly proves himself to be a formidable antagonist, while his henchmen played by Boyd Holbrook and Olivier Richters felt destined to face off against Indiana Jones. Jones and Banderas also feel at home as friends of Indy but have little to work with. Similarly, John Rhys-Davies returns as Sallah for a glorified cameo. If you've seen the trailers, his "Give them hell, Indiana Jones!" line makes up about a quarter of his screen time, so don't expect him to stick around for long when he shows up. 

Indiana Jones and the Dial of Destiny desperately hopes to unearth your adoration for this franchise without fully understanding why audiences gravitated to this series in the first place. This franchise has endured for over 40 years due to its ingenuity. There's a creative spark with Indiana Jones that set it apart from everything else. Dial of Destiny sorely missed the Lucas & Spielberg touch, so it's the first Indiana Jones movie that feels like it was slapped together on an assembly line. I'm not sure this one belongs in a museum. 

Film Assessment: C

'The Predator' Review

When a young boy accidentally triggers the universe's most lethal hunters' return to Earth, only a ragtag crew of ex-soldiers and a disgruntled science teacher can prevent the end of the human race.

Directed by Shane Black, The Predator features a screenplay co-written by Black and Fred Dekker and is the latest addition to the Predator franchise. As a fan of Black's work and someone intrigued by the potential of its star-studded ensemble cast, The Predator peaked my interest after its announcement. However, my interest waned as reports surfaced that the film would be undergoing extensive reshoots after poor test screenings and the high-profile blockbuster became surrounded by a troubling controversy regarding an actual sexual predator weeks before its release. For all intensive purposes, this behind-the-scenes drama didn't significantly color my perception of the film itself. 20th Century Fox removed the scene in question from the finished film where Olivia Munn unknowingly acted opposite a sex offender whom Black had cast in a number of his movies as a friend of his. However, the reshoots were relatively noticeable, my heart aches for everything Munn went through, and I've lost plenty of respect for Shane Black.

Controversies aside, I had a blast watching The Predator! Black's latest project is flawed for sure, but it's a fun blockbuster nevertheless. While there are structural problems, the dialogue is sharp, witty, and the whole affair is an amusing throwback to cheesy '80s action. Black's twisted sense of humor has already likely offended several audience members, but his quips land regardless of poor taste. Otherwise, the action sequences are entertaining, but nothing special. They're riddled with excessive jump-cuts and often set in dark environments which made it difficult to keep track of character deaths and the flow of the fight. The action does deliver lots of gruesome violence though. A reliable indicator of whether you should see The Predator or not is if you think you can handle Black's dark humor coupled with instances of brutal action. I didn't find any of the humor to be offensive since the one-liners were in jest, but I'm emphasizing it as a make-it-or-break-it dilemma because you all know how people are nowadays...

My primary concern was that it went on for too long and the third act regressed into a series of generic sci-fi action tropes. At that point, you could tell studio-meddling completely interfered with Black's creative vision. Also, the ending stood out as really stupid sequel bait, and the CGI was somewhat inconsistent but looked reasonably good for the most part. Another weird thing I noticed is that Henry Jackman's score only has three tracks on it, totaling for four minutes and fifty-six seconds. The score didn't stick with me, and this must have been part of the reason why. 

The Predator's main draw is undoubtedly its cast, and they certainly did not disappoint. Boyd Holbrook, Olivia Munn, Jacob Tremblay, Trevante Rhodes, and Keegan-Michael Key have a charismatic comradery while Sterling K. Brown was a definite stand-out, showcasing some hammy acting chops whenever he entered the picture. Though much of the ensemble is underwritten, the actors compensate with a delightful screen presence. 

The Predator shows signs of a troubled project riddled with studio interference but manages to be entertaining enough so that its shortcomings are ultimately insubstantial. You can probably wait till The Predator's available to stream before you hunt it down, but the famed franchise extra-terrestrial has still got its edge after thirty-one years. 

Film Assessment: B-

'Logan' Review

I've held off this review because I wanted to be sure I fully expressed my thoughts and did justice to Hugh Jackman's last ride as Wolverine. Below you may now read my in-depth spoiler-free thoughts on Logan. Some areas of my review may seem a bit vague but that's merely to avoid spoiling the film.

'Logan' Review

Nominated For: Best Adapted Screenplay.

The year is 2029 and mutants are all but extinct. A weary Logan now drives limousines for a living and cares for a senile Charles Xavier near the U.S./Mexican border. When Logan's approached by a mysterious woman to transport a young girl named Laura up north to the U.S./Canadian border and shady government forces close in; Xavier, Logan, and Laura must embark on a riveting road trip in search of safe haven. Logan loosely adapts the acclaimed Old Man Logan storyline and stands as ninth X-feature Jackman's appeared in. To put it simply, Logan is the end of an era. 

Hugh Jackman has held the role of Wolverine for seventeen years now, appearing in just about every X-Men film released since 2000, but Logan marks his final appearance as Wolverine. Returning director James Mangold and star Hugh Jackman aim to finally deliver the great standalone R-rated Wolverine story fans have eagerly hoped to see. Perhaps the greatest thing about Logan is that there's literally nothing holding it back, which can be attributed to Deadpool's shocking box office success last year. There are no restrictions being placed on the action to meet the MPAA's standards for a more commercially viable PG-13 blockbuster and Logan isn't functioning as a launching pad for more stories to follow up on this bookend (with maybe one exception?). 

The action is unabashedly brutal but violence never occurs for the sake of including an awesome action sequence, it's driven by the story and characters. Sure, Wolverine's claws may dismember a few limbs or go straight through a guy's face but the fact Logan doesn't shy away from showing this only lends further credence to the weight brutality like that carries on one's soul. Scott Frank, Michael Green, and director James Mangold tell a personal story first and foremost that doesn't seek to stun viewers with spectacle but rather one that best services the character. 

Logan is the final chapter in Wolverine's longstanding journey and one that intently and appropriately puts all its focus on him. The trio found an ideal tone for Logan, allowing it to be gritty and gruesome but maintain hopeful and heartfelt moments. Logan isn't dark and gritty in some attempt to be cool, rather because the story calls for it. This is the end of the line, not a fresh start or new beginning. The tone Mangold sets is a perfect match for the desolate surroundings he places our heroes in. 

Mangold effectively balances character drama and edge of your seat action as one never outweighs the other, in fact the action is fueled by the narrative and in turn the character's predicaments are more resonant thanks to the ferocious fighting. Logan doesn't short change the camera and stunt work with quick cuts as Mangold seeks to showcase the aggressive action in play with long takes, and I have to give props for the absolute best excuse and use of shaky-cam I've seen used in an action sequence in years! Mangold and cinematographer John Mathieson frame surreal shots lit by earthy hues while editors Michael McCusker and Dirk Westervelt weave it all together to grant the ambiance of Neo-Western. 

I would be remised if I forgot to mention the superb showing from the hair and makeup team for aging up both Hugh Jackman and Patrick Stewart to look absolutely decrepit (I mean that in the best way possible) and the transformation of Stephen Merchant into the albino mutant Caliban. All the while, Marco Beltrami composes a score full of somber, morose character themes in addition to invigorating, frantic orchestrations that are reflective of Logan's inner conflict and sorrow. 

Hugh Jackman's last portrayal of Logan is easily his best turn yet with Jackman evoking a weary and broken man at the end of his line, all while defining the character's legacy. Jackman has always been perfect for the role but the way he wraps it all up and provides a more multi-faceted, layered performance is truly Oscar worthy. I have rarely spoken of an actor in comic book franchise deserving awards consideration but truly believe Jackman should be in the running for Best Actor in the coming awards season. 

Who knows if 20th Century Fox will choose to pursue that route but I'd love to see them launch an awards campaign for Logan. For those who scoff at that idea, remember Deadpool randomly emerged as a late contender this past awards season picking up plenty of Guild nominations and Best Picture/Best Actor nominations at the Golden Globes. Had Fox been prepared for that outcome, I believe there would have been a stronger awards push and hopefully they see Logan deserves the push. 

Patrick Stewart also gets to push the boundaries of his typical straight-faced Professor X as he puts forth one last spin in his automated wheelchair, characterizing Xavier quite differently than the wise kindred mentor we've grown accustomed to seeing. Stewart gets to be funny, compromised, and more emotionally resonant thanks to Logan's screenplay. Seeing Stewart and Jackman together one last time was rewarding in and of itself but even with a shifting dynamic, they still stand well opposite one another. 

I didn't think it was possible for anyone to match Jackman's spite and ferocity as Wolverine but Dafoe Keen captures all that and much more as Laura, or X-23 as comic fans may be more familiar with. The bond she and Jackman share is truly the emotional core of Logan and their scenes together made me smile, laugh hysterically, and cry a stream of tears. Stephen Merchant is a nice inclusion as Caliban, bringing humor and levity in some cases while stepping up to the tasks set out for him by the screenplay. 

Boyd Holbrook's Donald Pierce matches Jackman as an unsavory foe but takes a back seat to Richard Grant's evil scientist Tim Rice in the film's second half. The two are servicable antagonists but their lacking malevolence actually doesn't stand out as one of Logan's weaknesses, purely because this film is concentrated on Logan not what he's up against. 

While I can't quite condone bringing a child to see Logan due to graphic violence and lots of swearing, for ages 17 and up I highly recommend a trip to the multiplex. If you're a fan of Wolverine and Hugh Jackman's take on the character in particular, then Logan is a must see. Logan is the ultimate swan song for Hugh Jackman's seventeen year stint as the berserker rage filled mutant, a gruesome yet sentimental send-off that I'd say is one of the best comic book films I've ever seen. 

Film Assessment: A+