Richard Crouse

The artefact at the heart of the action in “Indiana Jones and the Dial of Destiny” is a time shifting device called the Antikythera. This ancient, analogue computer with the power to find fissures in time, however, isn’t the only thing about the movie that revisits the past.

Everything old is new again in director James Mangold’s vision of the classic action-adventure. There’s the much talked about de-aging of Ford, the grand old man of action-adventure which effectively brings backs the classic Indy of the original film, and the reappearance of much-loved characters like John Rhys-Davies as Sallah. Even the new characters, like Helena, played by “Fleabag’s” Phoebe Waller-Bridge, feels like a throwback to the characters invented by Steven Spielberg and George Lucas when Ronald Reagan was still in office.

The action begins in 1944. Indy (the de-aged Ford) risks everything to help his colleague Basil Shaw (Toby Jones) keep Nazi scientist Jürgen Voller (Mads Mikkelsen) from getting his hands on

a mysterious dial known as the Antikythera. Used properly, the dial has the ability to manipulate time, and say, change the outcome of a certain war. “Hitler made mistakes,” says Voller. “And with this, I will correct them all.”

Cut to twenty-five years later. America has just landed on the moon, and the nation is jubilant but it is a jubilation the weathered Indy does not share. In the wake of his separation from

Marion Ravenwood (Karen Allen) and the death of his son, he starts each day with a shot of booze and a bad attitude.

On the eve of his retirement from teaching, a face from the past shows up. Helena Shaw (Waller-Bridge) is Basil Shaw’s daughter, Indy’s estranged goddaughter, an archeologist and a thief. Her interest in the Antikythera lures Indy back into a world of international adventure, former Nazis and the echoes of history come to life. “You’ve taken your chances, made your mistakes,” Helena says to Indy, “and now, a final triumph!”

Nothing is likely to ever live up to the adrenaline rush of seeing “Raiders of the Lost Ark” for the first time. The expert balance of action, comedy, suspense and mysticism is a cut above and nearly impossible to duplicate.  The retro newness of “Indiana Jones and the Dial of Destiny” is an attempt to recapture the magic, and it does deliver a hefty dose of whip-crackin’ thrills, but like the de-aged Ford in the film’s opening twenty minutes, it doesn’t exactly feel like the real thing.

It is, however, respectful of what came before. Mangold transcends the film’s recycled nature with some exciting action set pieces, and even if the stunts don’t feel as organic as they did the first time around, they deliver a welcome blast of vintage Indy action. There’s even a callback to Indy’s well-known fear of snakes. A highlight is a wild chase through the streets and alleyways of Tangier that mixes humor, action and peril in equal measure.

Cinematographer Phedon Papamichael captures the classic Indy look, an aesthetic and color palette that disappeared sometime around “Crystal Skull.” Visually, it’s like a warm hug that spans back decades.

Of course, the crucial element is Ford. He may need more CGI to hopscotch around on the top of trains and through sunken caves these days, but he brings the OG 70s movie star mojo and a Traveller’s hat full of charisma that has not diminished over the years. There is a poignancy to Ford’s lion-in-winter portrayal of the character, and, as a result, (NO SPOILERS HERE) there is an emotional component to the film’s final reel, as Indy confronts the anguish he feels, that may be the most touching moment in the entire series.

He’s ably assisted by the wisecracking Waller-Bridge and stoically evil Mikkelsen.

The story and action in “Indiana Jones and the Dial of Destiny” gets slowed down from time-to-time by too much talk of the Lance of Longinus, Polybius Squares and the Ear of Dionysius. Mangold makes up for those moments with John Williams’s rousing, signature score and a wild, and unexpected third reel payoff. The movie may not turn back the clock to have the cultural impact of the original, but it is a lot of fun.