In 1981, Lucasfilm introduced the world to a “fortune and glory” hunting archeologist/college professor, defined by his fear of snakes and his ability to make his female students thirsty for him. His name was Indiana Jones, and he, much like the Star Wars setting before him, became an instant institution in American pop culture. Ignoring The Young Indiana Jones Chronicles (as most do), Indy took us on four cinematic journeys over the years, with mixed results in thrilling audiences and presenting quality cinema.

Many fans felt Phantom Menaced by 2008’s Indiana Jones and the Kingdom of the Crystal Skull, so when it was announced a fifth Indy film was coming from Disney in 2023, without the direction of Steven Spielberg or a script by George Lucas, many fans felt apprehensive. This was completely understandable. Toxic fans aside, Disney’s treatment of Lucasfilm’s Star Wars properties has been nothing but peaks and valleys. The television shows have been, for the most part, well-received. By contrast, the sequel films have been greeted with mixed reviews from both critics and fans.

Thankfully, Indiana Jones and the Dial of Destiny is a welcome return to form. It is also the most fun I’ve had with an Indiana Jones property in years.

The film opens with a flashback to the closing days of World War II, with Hitler in retreat and the Allies moving into Germany. Indiana Jones (Harrison Ford) and his British friend Basil Shaw (Toby Jones, who ironically seems to play Nazis more often than he fights them on-screen) are in a race to recover the Lance of Longinus, which legend has it pierced Jesus’ side while he was on the cross. Instead, they find something bigger: half of Archimedes’ Dial, aka The Antikythera. The two barely escape with their lives and the dial, evading Nazi scientist Voller (masterfully played by Mads Mikkelson), who believes the dial holds the secret to time travel.

The film jumps forward to 1969. This is revealed through Indy’s neighbors blasting The Beatles’ “Magical Mystery Tour” while Indy is asleep on the couch, with H.R. Pufnstuf on in the background. Indy is feeling every bit of mileage from his years, with his retirement from teaching overshadowed by the Moon Landing and a parade for the newly returned Apollo 11 astronauts. But they are not the only visitors to New York City who are about to upend Indy’s life.

Enter Helena Shaw, daughter of Basil and goddaughter of Indy, who is played to perfection by Phoebe Waller-Bridge. She’s seeking the other half of Archimedes’ Dial, for her own reasons. She is not alone, with Voller emerging in Manhattan after being revealed as one of the scientists who worked on the Apollo 11 project. The CIA is working with him to retrieve the Dial for their own purposes, but he has his own agenda.

This story sets up the then break-neck action, provides the minimal exposition needed, and establishes the impeccable chemistry between Indy and Helena Shaw, who emerges as the best element of this film. Phoebe Waller-Bridge basically plays a female Indy and that is not a bad thing. Her character is so well-developed I would love to see a spinoff centered on her pursuit of fortune and glory, with her own child sidekick, Teddy. Played by Ethann Isidore in a breakout performance that is another high point of the movie, Teddy goes beyond being a second-class Short Round.

Indiana Jones and the Dial of Destiny is packed with twists, turns and surprises, restoring an element that was missing from Kingdom of the Crystal Skull. There are boobytraps and dangerous animals, which fit into the scenery perfectly, unlike the Dungeons and Dragons style giant ants from the previous film. There is a wonderful cameo by John Rhys-Davies as Indy’s sidekick Sallah. There is also a strong emotional element to the film, with Indy looking back on his life and questioning his choices and the possibility of changing them if the dial works. This theme resonated with me, being at a point where, upon getting older, I felt as pointless and useless as Indy after all I’ve survived.

While the film does more right than wrong, I must point out a few flaws. There is a major plot development with Indiana Jones that never gets a resolution. The film just assumes it gets resolved, and I felt it was a cop out. There’s also some Uncanny Valley issues with the CGI used to deage Harrison Ford in the flashback scene that opens the movie. Finally, despite Mads Mikkelson playing a great villain who has some surprising depth, his Nazi henchmen are shallow and barely have one-dimension between them.

In my humblest opinion, this is an Indiana Jones adventure that must be seen, and seen on the big screen. It is an apology for the mess Kingdom of the Crystal Skull made of the franchise, and a love letter to the fans. The ending definitely lets us know Indy’s journey is done, but Helena’s has just begun. I hope we have not seen the last of her, despite knowing I will indeed miss Indiana Jones.