indiana jones movie reviews rotten tomatoes

Movie Reviews

Tv/streaming, collections, chaz's journal, great movies, contributors, indiana jones and the dial of destiny.

Now streaming on:

“Indiana Jones and the Dial of Destiny” is somehow both never boring and never really entertaining. It walks a line of modest interest in what’s going to happen next thanks to equal parts innovative story beats and the foundation of nostalgia that everyone brings to the theater. It’s an alternating series of frustrating choices, promising beats, and general goodwill for a legendary actor donning one of the most famous hats in movie history yet again. It should be better. It could have been worse. Both can be true. In an era of extreme online critical opinion, “The Dial of Destiny” is a hard movie to truly hate, which is nice. It’s also an Indiana Jones movie that's difficult to truly love, which makes this massive fan of the original trilogy a little sad.

The unsettling mix of good and bad starts in the first sequence, a flashback to the final days of World War II that features Indy ( Harrison Ford ) and a colleague named Basil Shaw ( Toby Jones ) trying to reclaim some of the historical artifacts being stolen by the fleeing Nazis. Jones looks normal, of course, but Ford here is an uncanny valley occupant, a figure of de-aged CGI that never looks quite human. He doesn't move or even sound quite right. It’s the first but not the last time in “The Dial of Destiny” in which it feels like you can’t really get your hands on what you’re watching. It sets up a standard of over-used effects that are the film’s greatest flaw. We’re watching Indiana Jones at the end of World War II, but the effects are distracting instead of enhancing.

It's a shame, too, because the structure of the prologue is solid. Indy escapes capture from a Nazi played by Thomas Kretschmann , but the important introduction here is that of a Nazi astrophysicist named Jurgen Voller (a de-aged Mads Mikkelsen ), who discovers that, while looking for something called the Lance of Longinus, the Nazis have stumbled upon half of the Antikythera, or Archimedes’ Dial. Based on a real Ancient Greek item that could reportedly predict astronomical positions for decades, the dial is given the magical Indy franchise treatment in ways that I won’t spoil other than to say it’s not as explicitly religious as items like the Ark of the Covenant of The Holy Grail other than, as Voller says, it almost makes its owner God.

After a cleverly staged sequence involving anti-aircraft fire and dozens of dead Nazis, “The Dial of Destiny” jumps to 1969. An elderly Indiana Jones is retiring from Hunter College, unsure of what comes next in part because he’s separated from Marion after the death of their son Mutt in the Vietnam War. The best thing about “The Dial of Destiny” starts here in the emotional undercurrents in Harrison Ford’s performance. He could have lazily walked through playing Indy again, but he very clearly asked where this man would be emotionally at this point in his life. Ford’s dramatic choices, especially in the film's back half, can be remarkable, reminding one how good he can be with the right material. His work here made me truly hope that he gets a brilliant drama again in his career, the kind he made more often in the ‘80s.

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.

“The Dial of Destiny” works much better when it’s less worried about spending that massive budget. When Indy and Helena get to actual treasure-hunting, and John Williams ’ all-timer theme kicks in again, the movie clicks. And, without spoiling, it ends with a series of events and ideas that I wish had been foregrounded more in the 130 minutes that preceded it. Ultimately, “The Dial of Destiny” is about a man who wants to control history being thwarted by a man who wants to appreciate it but has arguably allowed himself to get stuck in it through regret or inaction. There’s a powerful emotional center here, but it comes too late to have the impact it could have with a stronger script. One senses that this script was sanded down so many times by producers and rewrites that it lost some of the rough edges it needed to work.

Spielberg reportedly gave Mangold some advice when he passed the whip to the director, telling him , “It’s a movie that’s a trailer from beginning to end—always be moving.” Sure. Trailers are rarely boring. But they’re never as entertaining as a great movie.

In theaters now.

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

Now playing

Widow Clicquot

Glenn kenny.

Reverse the Curse

Matt Zoller Seitz

Customs Frontline

Simon abrams.

Tiger Stripes

Monica castillo.

Film Credits

Indiana Jones and the Dial of Destiny (2023)

Rated PG-13 for sequences of violence and action, language and smoking.

154 minutes

Harrison Ford as Indiana Jones

Phoebe Waller-Bridge as Helena Shaw

Antonio Banderas as Renaldo

John Rhys-Davies as Sallah

Toby Jones as Basil Shaw

Boyd Holbrook as Klaber

Ethann Isidore as Teddy Kumar

Mads Mikkelsen as Dr. Jürgen Voller

Karen Allen as Marion Ravenwood

Thomas Kretschmann as Colonel Weber

• James Mangold

Writer (based on characters created by)

• George Lucas
• Philip Kaufman
• David Koepp
• Jez Butterworth
• John-Henry Butterworth

Cinematographer

• Phedon Papamichael
• Michael McCusker
• Dirk Westervelt
• Andrew Buckland
• John Williams

Latest blog posts

Seven Samurai Continues Its Ride Through Cinema's Past and Future

What About Bob? On the Legacy of One of the Best-Loved Comedians, Bob Newhart (1929-2024)

Levan Akin on Making Films His Way, the Queer Art That Shaped Him, and His Touching New Drama Crossing

All About Suspense: Damian Mc Carthy on Oddity

• Cast & crew
• User reviews

Indiana Jones and the Dial of Destiny

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

• James Mangold
• Jez Butterworth
• John-Henry Butterworth
• David Koepp
• Harrison Ford
• Phoebe Waller-Bridge
• Antonio Banderas
• 1.7K User reviews
• 359 Critic reviews
• 58 Metascore
• 7 wins & 33 nominations total

Top cast 99+

• Indiana Jones

• Colonel Weber

• Young SS Officer
• Italian Ticket Seller
• (as Alfonso Rosario Mandia)

• Larry - Beat Poet Guy

• All cast & crew
• Production, box office & more at IMDbPro

Who Makes Harrison Ford Laugh?

More like this

Did you know

• Trivia In an interview with Stephen Colbert , Harrison Ford explained how the filmmakers digitally de-aged him for the flashback sequence: "They have this artificial intelligence program that can go through every foot of film that Lucasfilm owns. Because I did a bunch of movies for them, they have all this footage, including film that wasn't printed. So they can mine it from where the light is coming from, from the expression. I don't know how they do it. But that's my actual face. Then I put little dots on my face and I say the words and they make [it]. It's fantastic." At 80, he is the oldest actor to be de-aged in a movie, surpassing Al Pacino , who was 79 when he was de-aged in The Irishman (2019) .
• Goofs Indy identifies the half lion half eagle creature carved on Archimedes' tomb as a Phoenix. The creature is actually a griffin and bears little or no resemblance to a Phoenix.

Dr. Voller : You should have stayed in New York.

Indiana Jones : You should have stayed out of Poland.

• Crazy credits The Paramount Pictures logo appears normally, and does not fade into a mountain-shaped opening shot, the only film in the Indiana Jones films to do so. Instead, the Lucasfilm logo fades into a lock on a door in 1944 Germany.
• Alternate versions On the International prints of the film, the original variant of Disney's 100th anniversary logo (with 100 YEARS OF WONDER tagline) was shown as the first logo instead of tagline-less variant of the same logo.
• Connections Featured in AniMat's Crazy Cartoon Cast: Changing of the Bobs (2020)
• Soundtracks Lili Marleen Written by Hans Leip and Norbert Schultze

User reviews 1.7K

• bforrest-14878
• Jun 29, 2023

'Indiana Jones' Stars Through The Years

• How long is Indiana Jones and the Dial of Destiny? Powered by Alexa
• What year does the movie take place?
• How old is Indy supposed to be in this film?
• June 30, 2023 (United States)
• United States
• Official Disney (Australia)
• Official Facebook
• Greek, Ancient (to 1453)
• Indiana Jones 5
• North Yorkshire Moors Railway, 12 Park Street, Pickering, North Yorkshire, England, UK (German railway scenes)
• Walt Disney Pictures
• Paramount Pictures
• See more company credits at IMDbPro
• $294,700,000 (estimated)
• $174,480,468
• $60,368,101
• Jul 2, 2023
• $383,963,057

Technical specs

• Runtime 2 hours 34 minutes
• Dolby Atmos
• D-Cinema 96kHz Dolby Surround 7.1
• Dolby Digital
• Dolby Surround 7.1
• 12-Track Digital Sound

Related news

Contribute to this page.

• IMDb Answers: Help fill gaps in our data
• Learn more about contributing

More to explore

Recently viewed.

Indiana Jones: The Series' Best And Worst Movie, According To Rotten Tomatoes

"Indiana Jones" is one of the biggest franchises to come out of the late 20th century, and it's not done yet. With Harrison Ford at the forefront one last time as Dr. Henry Jones Jr., director James Mangold's  "Indiana Jones and the Dial of Destiny" will conclude the saga once and for all. Thus, now is as good a time as any to rewatch the previous four Indy adventures and rank them from best to worst if that's your kind of thing. If you so choose, you could even see how your best and worst picks compare to the series' Rotten Tomatoes scores.

If you're at all familiar with the "Indiana Jones" films and their fanbase, you probably know where this is going. When looking at each individual film on Rotten Tomatoes, there's a clear best and worst according to the site's critics. Much to the surprise of no one, 1981's "Raiders of the Lost Ark," the film that started it all, sits at the top of the heap. It boasts a 93% Certified Fresh score from critics with a 96% score from general audiences. Meanwhile, 2008's  "Indiana Jones and the Kingdom of the Crystal Skull" is in last, with 77% and 53% from critics and audiences, respectively.

For the most part, the "Indiana Jones" films have a great track record on Rotten Tomatoes, but can "Dial of Destiny" finish the franchise out strong?

Where will Dial of Destiny fit into this ranking?

While there's no way to know before the film's release how "Indiana Jones and the Dial of Destiny" will stack up to its franchise counterparts, we can make educated guesses regarding its potential Rotten Tomatoes ranking. 

Ahead of the feature's long-awaited cinematic debut, it's sitting at a 61% critical score with 105 reviews , so at this point, it's considered the worst of the bunch by critics. That could change after it releases, but it has an uphill battle to fight if it wants to overtake the 77% score held by the current last place feature, "Indiana Jones and the Kingdom of the Crystal Skull." At the same time, the real question is, how will "Dial of Destiny" fare with general audiences compared to the four films that came before it? 

More than likely, if other beloved legacy franchises are of any indication, the latest "Indiana Jones" movie won't overtake any of the "sacred" originals — "Raiders of the Lost Ark," "Indiana Jones and the Temple of Doom," and "Indiana Jones and the Last Crusade." Although, "Crystal Skull" is where things get tricky. Either fans will adore "Dial of Destiny" and hail it as an improvement over "Crystal Skull" (think the response to "Ghostbusters: Afterlife" compared to that of 2016's "Ghostbusters), or it'll make fans appreciate the 2008 film more for one reason or another (think the "Star Wars" prequel revisionism in the wake of the "Star Wars" sequel trilogy's completion).

We'll just have to wait and see how "Indiana Jones and the Dial of Destiny" performs on Rotten Tomatoes when the film opens on June 30.

Indiana Jones and the Dial of Destiny Review

We didn’t realize how good we had it with kingdom of the crystal skull..

Indiana Jones and the Dial of Destiny opens in theaters on June 30, 2023

Indiana Jones and the Dial of Destiny is very much about trying to recapture the series’ lost spark, both in its filmmaking and within the world of the story, but these impulses are set at odds. It’s the tale of a former adventurer who needs to stop living in the past, but the only way it works is by firmly rooting itself in nostalgia. Indiana Jones, the character, needs to move on, but Indiana Jones the franchise won’t let him.

The Dial of Destiny begins with a de-aged Harrison Ford trying to retrieve an artifact from Nazi plunderers in 1945, alongside his previously unseen colleague, the floundering Basil Shaw (Toby Jones), only to find that an entirely different artifact – the titular dial, said to be a creation of Greek physicist Archimedes – is now in play. Shaw’s role, while small, is a fun one, but he’s given the unenviable task of quipping opposite a positively dead-eyed Ford. His digital face-lift may look fine in photos, but when it comes to motion and delivering lines of dialogue there’s no life behind young Indy’s face.

This robotic retread of a familiar icon – one that’s become unfortunately emblematic of Disney, between the Lion King remake and Luke Skywalker’s appearance in The Book of Boba Fett – sets the tone for much of The Dial of Destiny. Its opening action scene reads like a typical Indy adventure on paper, with smooth maneuvers aboard moving vehicles to evade goose-stepping, treasure-hunting baddies. However, the action presented by director and co-writer James Mangold is immediately missing the visual clarity and rhythm that Steven Spielberg and series editor Michael Kahn brought to each of the first four movies. Granted, as with Star Wars, perhaps the case can be made that this fictional universe transcends a single group of storytellers, but Dial of Destiny isn’t so much familiar iconography told through new cinematic language as it is a poor imitation of what came before it.

Everything feels ever-so-slightly wrong in its 25-minute opening sequence, with cuts and shot selections ordered “correctly” enough to convey a sequence of events, but never fine-tuned enough to make its images land with any impact. Add to this the sheer murkiness of what’s on screen (much of the CG-heavy action is obscured by nightfall, or natural elements like fog) and what you’re left with is a spectacle you can barely see, and an adventure movie that feels distinctly un-adventurous in its creation.

A "legacy sequel" is a movie that picks up a story many years later. What's your favorite?

On the plus side, the story at least begins in an interesting place once the prologue finally comes to a close. The year is 1969 and the Apollo 11 astronauts have just returned from the Moon, but while the whole world looks towards the stars, and to the future, a drunk and miserable Indy remains stuck in the past – which is to say, he still teaches archeology. There are also major regrets keeping him from living in the present or looking beyond it, but these warrant only a passing mention over an hour into the story (even though they answer pressing questions that might be on the minds of long-time fans).

These are all half-hearted attempts at contrasting Indy with the central antagonist, Dr. Voller (Mads Mikkelsen), a former Nazi and current U.S. government scientist under Operation Paperclip . Mikkelsen delivers a straightforward performance in line with the by-the-numbers material he’s given, but despite there being little to remember about his embodiment of Voller, the character stands out as an Indy nemesis whose own obsession with past failures has led him back to his old foe.

But where Voller's fixation with the past leads to unsavory outcomes, Indy’s similar perspective on his personal failures is one the film largely accepts, and never really brings into conflict with Voller's. They’re two sides to a coin in theory, but Dial of Destiny never tempts this sad, broken version of Indiana Jones with the power to instantly fix his problems – a power the mysterious Dial may very well possess – so it foregoes the catharsis it seems to crave from having Indy eventually look beyond what’s been shackling him to events gone by.

Indiana Jones and the Dial of Destiny Gallery

Ford gives it his all, carrying Indy with a mournful sense of reflection, but the rest of the film never rises to his level. It comes ever so close to making the Dial of Destiny mean something in the grand scheme of things, especially as the climax approaches. But a last-second swerve renders the symbolic idea of the Dial – a clock-like artifact representing time itself – little more than wasted potential.

With the help of Basil’s now-adult daughter, Helena Shaw (Phoebe Waller-Bridge), Indy once again ends up on a global treasure hunt in competition with his Nazi enemies. But Dial of Destiny lumbers from scene to scene, with action that never quite manages to be exciting. There was a glimmer of mischief to the fights and stunts in Spielberg’s Indiana Jones movies, which quickly established their stakes and physical geography before hitting swashbuckling highs. The action in Dial of Destiny is dull by comparison, whizzing by too quickly to land, and with physics too cartoony to leave a lasting impact. At one point Indy runs atop a row of train cars, and the exaggerated movements of his digital stunt double are indistinguishable from those of Woody from Toy Story (fitting, perhaps, since he’s more children’s action figure than flesh & blood human being in this movie).

Just as unclear as the action is the character of Helena, who is framed as a pseudo Indiana Jones successor – a Bond-esque adventurer with a roguish streak, and even her own kid sidekick – though it never quite figures out what to do with her. On one hand, her money-above-all-else motive clashes with Indy’s more altruistic “It belongs in a museum!” approach to ancient artifacts. On the other hand, her father’s past obsession with the Dial is just as much of a driving factor in her involvement with the plot. These warring motives don’t so much clash or cause personal drama as they simply exist in separate scenes, as if entirely different drafts of the story had been smashed together. She’s never torn between selling an artifact and using it to fulfill her father’s lifelong work; she simply feels one way in one scene, and feels another way in the next.

The Biggest Movies Coming in 2023

This fracturing of Helena’s character is more passing annoyance than central flaw – more plot convenience than plot hole – but it represents the way Dial of Destiny is made from the ground up. Its drama is cobbled together from ideas that are meaningful in isolation – Indy, Helena, and Voller all have complicated outlooks on the past – but they rarely come into contact (let alone in ways that drive the story). Similarly, its action is the result of borderline-functional filmmaking that presents events in sequence, each in their own individual shots, but it seldom presents a causal relationship between them (let alone one where two consecutive images, or the cut connecting them, result in added emphasis or impact). Haphazardly strung-together close ups drive the action, but a wider picture almost never emerges (if it does, it’s barely comprehensible).

A returning John Williams remains a saving grace, providing grand musical motifs and familiar tunes at just the right moments. However, the camera rarely creates meaning on its own, except when there’s a familiar brown fedora somewhere on screen, at which point it charges towards it like a happy pup reuniting with its owner – a shot that repeats on at least four separate occasions. But there are only so many times it can say “Look! It’s that iconic hat you recognize!” before the well runs dry. Nostalgia is the one trick Indiana Jones and the Dial of Destiny has, and it isn’t a trick it performs particularly well in the first place.

By yanking Indiana Jones out of retirement yet again, for a fifth (and hopefully final) movie, Disney proves that some things should be allowed to end. Or, at the very least, it proves that a franchise resurrection should spend at least some of its 154 minutes doing something other than trying desperately to justify its own existence. Earnest final efforts from Harrison Ford and John Williams couldn’t rescue a movie so directionless and haphazard, or action that fails to recapture the swashbuckling joys of the originals. By asking why Indy is on this adventure in the first place, and what the character gains on the other side of it, Dial of Destiny concocts paradoxical answers that fail to meet in the middle. It’s a film about letting go of the past and moving forward, but one that refuses to do the same.

More Reviews by Siddhant Adlakha

Ign recommends.

Indiana Jones 5 reviews: Reactions, Rotten Tomatoes score & more

Indiana Jones 5, officially titled Indiana Jones and the Dial of Destiny, is almost upon us. Early reactions and reviews have been notably mixed following the movie’s Cannes premiere, ranging from “a waste of time” to “fans will love it.”

The fifth installment of Lucasfilm’s beloved and long-running action-adventure franchise sees Harrison Ford reprise his role as the eponymous explorer, having first grabbed his whip in 1981’s Raiders of the Lost Ark. 

In the upcoming flick, we see Indy’s goddaughter Helena (Phoebe Waller-Bridge) recruit him for one last adventure: to recover a “dial that could change the course of history.” But he’s got competition from Mads Mikkelsen’s villainous ex-Nazi-turned-NASA-engineer, Jürgen Voller.

While Indiana Jones 5 , which sees James Mangold in the director’s seat, has endured numerous delays and setbacks, the movie will finally drop in six weeks – so, here are the reactions and reviews so far, as well as the preliminary Rotten Tomatoes score.

Indiana Jones 5 reactions

Early reactions to Indiana Jones 5 have been rolling in since it enjoyed its first premiere at Cannes Film Festival on Thursday May 18, 2023, and opinions on the Harrison Ford movie are notably mixed so far. 

Among the positive reactions, Variety’s Clayton Davis wrote : “Redemption! James Mangold redeems #IndianaJones with #DialOfDestiny. A farewell to one of the greatest movie characters in cinema history. Action, laughs, charm… just everything that makes him great. Thanks Harrison Ford (and Phoebe Waller Bridge) for the ride. #Cannes2023.”

Redemption! James Mangold redeems #IndianaJones with #DialOfDestiny . A farewell to one of the greatest movie characters in cinema history. Action, laughs, charm…just everything that makes him great. Thanks Harrison Ford (and Phoebe Waller Bridge) for the ride. #Cannes2023 pic.twitter.com/oVKKSiVCFW — Clayton Davis (@ByClaytonDavis) May 18, 2023

Indiana Jones and the Dial of Destiny is geweldig 🥰Film ademt lol vd oude trilogie en ontroert. Return v nazis als badguys is goud. Phoebe en Mads erg fijn, onze Olivier tof als henchman. En de over de top finale moet je zien om te geloven🔥zou direct 2ex willen zien #Cannes2023 — Robbert Blokland (@bobbyblok) May 18, 2023

A massive standing ovation brings Harrison Ford to tears during the #IndianaJones and the Dial of Destiny premiere at #Cannes2023 . pic.twitter.com/XUUn3MW16w — Rotten Tomatoes (@RottenTomatoes) May 19, 2023

Elsewhere, Kenny @Disney+ said : “#IndianaJones: and the Dial of Destiny was good, fun and really an Indiana Jones Movie. Fans will love it. Rules are rules, I’m not allowed to post more about it. Next Premiere it is then.”

Freelance journalist Robbert Blokland added : “Indiana Jones and the Dial of Destiny is great… Phoebe and Mads are very nice, our Olivier is great as the henchman. And the over the top finale you have to see to believe.”

On the other side of the fence, IndieWire’s David Ehrlich said : “Indiana Jones and the Dial of Destiny is a waste of time,” although he did add: “As someone who has never felt a deep personal attachment to Harrison Ford, I found the tearful little speech he gave before the screening incredibly sincere and moving! I’m sure it’ll be on YouTube if it isn’t already.”

INDIANA JONES AND THE DIAL OF FATE has big THE FORCE AWAKENS energy in that “we promise we won’t fuck this up” fan service way that hits a lot of agreeable beats on its own terms. One big “nuke the fridge” moment most people will forgive, but this is pretty safe stuff. — erickohn (@erickohn) May 18, 2023

The Hollywood Reporter’s David Rooney wrote : “If CRYSTAL SKULL did your head in and you were hoping James Mangold would take away that ache with INDIANA JONES AND THE DIAL OF DESTINY, think again.”

Indiana Jones 5 reviews

Just like the first reactions, the early reviews for Indiana Jones 5, the Dial of Destiny, are mixed. 

In our three-star review, we said : “The fifth film in a veteran franchise is too often content to riff on former glories that mainly remind you how glorious the older films were. But a wild ending that allows Harrison Ford to go out in style  just  about makes Dial of Destiny worth tuning in for.”

Empire gave it four out of five stars, writing: “Indy’s final date with destiny has a barmy finale that might divide audiences – but if you join him for the ride, it feels like a fitting goodbye to cinema’s favorite grave-robber.”

The Guardian , which gave it three out of five stars, commented: “It’s the first Indiana Jones film not to be directed by Steven Spielberg – James Mangold is now at the helm – but despite that, this one has quite a bit of zip and fun and narrative ingenuity with all its MacGuffiny silliness that the last one (Indiana Jones and the Kingdom of the Crystal Skull) really didn’t.”

Elaborating on Ehrlich’s tweet, IndieWire said: “Not only is Indiana Jones and the Dial of Destiny an almost complete waste of time, it’s also a belabored reminder that some relics are better left where and when they belong… The Dial of Destiny is a globe-trotting adventure movie so safe that even its 80-year-old hero never seems to be in any significant danger.”

As well as a two star rating, The Times said: “The good news is that it’s not as poor as Indiana Jones and the Kingdom of the Crystal Skull. The bad news is that it’s not much better.”

Vanity Fair added: “The film, the first Indiana movie not directed by Steven Spielberg, shows a little brio here and there, but it sadly stands testament to its own lack. Director James Mangold, tasked with living up to a fearsome legacy, is competent with an action set piece, but displays little of Spielberg’s nimble, inventive physics or of his famous gift for conjuring awe.”

Indiana Jones 5 Rotten Tomatoes score

While it’s too early for an audience rating, Indiana Jones 5, the Dial of Destiny, has a 50% score on Rotten Tomatoes’ Tomatometer. 

However, this is only based on the Cannes premiere, with just eight critics’ reviews contributing to the rating, meaning it will likely change when more reviews roll in. 

We’ll be sure to keep this page updated when new reactions and scores arrive. 

For more Indiana Jones and the Dial of Destiny info, check out the below articles :

Indiana Jones 5 review  |  Cast and characters  |  What is the Dial of Destiny?  |  Number of Indy movies  |  Helena Shaw explained  |  Soundtrack and songs  |  Indiana Jones streaming details  |  Dial of Destiny runtime  |  Lance of Longinus explained  |  Where is Indy’s son?  |  Filming locations  |  How to watch the Indy movies in order  |  Is Short Round in Dial of Destiny?  |  Ranking the Indiana Jones movies  |  Villain explained  |  Does Dial of Destiny have a post-credits scene?  |  Best Easter Eggs  |  Ending explained  |  Deaths in Dial of Destiny?  |  Will there be an Indiana Jones 6?

'Indiana Jones' Movies Ranked from Worst to Best

Your changes have been saved

Email Is sent

Please verify your email address.

You’ve reached your account maximum for followed topics.

The Big Picture

• Spielberg and Lucas' collaboration began with the desire to create a James Bond film, leading to the birth of the Indiana Jones franchise.
• Each Indiana Jones film offers a fresh story and structure, with varying degrees of success in balancing adventure and character dynamics.
• Indiana Jones and the Dial of Destiny provides a satisfying conclusion to Indy's story, emphasizing character growth and emotional depth over action set pieces.

The inception of the Indiana Jones franchise actually began with the desire to make a film in another, already established film series. Steven Spielberg and George Lucas were on vacation together in 1977 during the opening weekend of Star Wars when Lucas asked Spielberg — who was in post-production on Close Encounters of the Third Kind at the time — what kind of film he wanted to make next. Spielberg said he’d always wanted to direct a James Bond film, to which Lucas replied, “Well, I’ve got that beat.” The Star Wars filmmaker proceeded to pitch an adventure film in the vein of the 1930s and 40s serials starring a heroic archeologist named Indiana Smith . Spielberg loved everything but the name, suggested Jones as the new surname, and thus one of the most enduring film franchises in history was born.

The Indiana Jones franchise is also noteworthy in that no two films are too similar . Spielberg and Lucas were careful not to retread the formula of past movies, and while this resulted in a fresh story and structure each time out, not every entry was a home run, and Indiana Jones and the Dial of Destiny , directed by James Mangold (and the first installment not directed by Spielberg) continues that tradition. Below, we've visited all five Indiana Jones films, digging into the merits and shortcomings of each entry in this beloved, long-lasting, and ongoing franchise.

5. Indiana Jones and the Kingdom of the Crystal Skull

We begin with what is glaringly the worst of the bunch. One of the biggest problems with Indiana Jones and the Kingdom of the Crystal Skull is apparent from the opening frame, in which a distractingly-obviously-CG-created groundhog pops his head out of a mound. Indiana Jones has always been about grand adventure, using the best effects possible to put our hero in the greatest amount of danger, but a 21st-century Indiana Jones movie already begins to feel false once incongruous CG effects begin to creep in. This permeates throughout the entire film, from Shia LaBeouf swingin’ on vines with animated monkeys, to a swarm of weightless computer-generated ants carrying communist soldiers to their death. As fake as some of the bugs in Temple of Doom may have looked, they still felt tangible in relation to the actors, and tangibility goes a long way towards sweeping the audience up in the adventures of Indiana Jones.

Unfortunately, an overreliance on CG is only one of many issues plaguing the fourth Indiana Jones film . Even Cate Blanchett can’t make paranormal-obsessed villain Irina Spalko interesting, John Hurt is completely wasted as a walking, talking clue-pointer, the loyalty of Ray Winstone ’s sidekick Mac doesn’t matter one bit because the character barely exists as-is, and LaBeouf performs with such emotional intensity that it feels like he’s in an entirely different film. Pretty much the only character dynamic worth anything in Crystal Skull is the one between Indy and Marion . Harrison Ford and Karen Allen easily slip back into their old rapport, giving the film a much-needed boost when it begins to get bogged down by its own convoluted plot involving saucer men from Mars.

Some took issue with the fact that Indiana Jones would be dealing with aliens in the fourth Indy film, and while another religion-focused MacGuffin may have been more suitable, it makes sense for Lucas and Spielberg to want to tackle this particular kind of story when moving the series into the 1950s. The problem isn’t aliens; it’s the specific story they choose to tell. There’s no weight to the hunt for Crystal Skulls , and as Indiana Jones starts to rattle off various off-screen adventures he’s had since we last left him, we begin longing to see those stories instead.

“Uninteresting” is the operative word of Crystal Skull , from the story to the characters to even the set pieces. The truck sequence in the jungle is the least dull of the bunch , but even then, it’s hard to care about what’s happening when we don’t really care about the characters themselves . This is a shame, because Indiana Jones is undoubtedly one of the most interesting heroes to grace the silver screen. It took years for Spielberg, Lucas, and Ford to agree on a take for the fourth Indiana Jones film, but maybe they should’ve realized the difficulty in coming up with another satisfying film meant they probably should have left well enough alone.

Indiana Jones and the Kingdom of the Crystal Skull

Indiana Jones becomes entangled in a Soviet plot to uncover the secret behind mysterious artifacts known as the Crystal Skulls.

WATCH ON DISNEY+

4. Indiana Jones and the Temple of Doom

Spielberg and Lucas began developing Temple of Doom pretty quickly after the success of Raiders of the Lost Ark , but from the onset, they were intent on making a film that would be darker and very different from the first adventure . Lucas rooted this idea in how he approached Empire Strikes Back as the darkest entry in the Star Wars trilogy, but whereas that film simply went to some emotionally difficult places, Temple essentially becomes a horror film in its somewhat disturbing, pitch-black third act .

Things begin promisingly enough in Temple of Doom as Spielberg opens the movie with a Busby Berkeley -esque musical number followed immediately by a thrilling showdown and shootout between Indy and Lao Che ( Roy Chiao ). But the first hints that we may be in for a bumpy ride arrive with Kate Capshaw ’s nightclub singer Willie Scott. In keeping with Spielberg and Lucas’ desire not to repeat themselves, it makes sense that they’d want to craft a wholly different female companion for Indy in the follow-up, but making Willie Scott the opposite of Marion Ravenwood means Indy shares the screen with a grating, dim, and infuriatingly self-obsessed stereotype . Again, the intention behind Willie Scott was fine, but the execution is pitched way too severely toward the damsel in distress as Willie screams and stomps like an angry toddler throughout most of the film’s runtime. While her romantic interactions with Indy are meant to evoke the tone of classic screwball comedies, more often than not they fall flat. If Raiders reflects the best of the James Bond influence, Temple embraces some of that franchise’s worst tendencies when it comes to the hero/love interest dynamic.

Indy’s other companion, Short Round , is at least endearing enough to tolerate onscreen, and the chemistry between Ford and Ke Huy Quan results in the film’s most effective comedic moments — which are absolutely vital to keeping the darkness of the movie’s second half from engulfing the movie whole. Indeed, Spielberg embraces certain aspects of the horror genre and B-movie cinema with the film’s violent finale, which certainly caught some audiences off guard. While Raiders ended in a similarly graphic fashion, it’s about balance — TempleI of Doom litters the shock value throughout the entire third act, whereas Raiders saves the gore for the money shot at the very end.

Temple of Doom isn’t a bad movie — the booby-trap sequence on the way to the temple is one of Spielberg’s most effective set pieces ever, and the mine car chase in the finale is thrilling. But the lack of a strong companion, overreliance on the wrong kind of dark tone , and lessened focus on Indiana Jones as an intellectual make it a somewhat less fulfilling entry in the franchise .

Indiana Jones and the Temple of Doom

3. indiana jones and the dial of destiny.

It may seem like heresy to say Dial of Destiny is better than any of the first three Indiana Jones, but the satisfying conclusion to Indy's story , despite a blandness to the rest of the film, outweighs the shrill, irritating, and extremely questionable aspects of Temple of Doom . Dial of Destiny has some decent setpieces, like the opening flashback to a younger Ford (with some odd de-aging), and a chase through Tangier with Indy's goddaughter Helena ( Phoebe Waller-Bridge ) and her sidekick Teddy ( Ethann Isidore ), but this might be the first Indy film where it's the smaller moments that are better than the action scenes.

‘Indiana Jones and the Dial of Destiny’ Is More Historically Accurate Than You Think

Would you believe us if we told you the Dial of Destiny is a real thing?

Dial of Destiny treats Indy like a real person and not a cipher for whatever adventure scenario that he's thrown into this time around. He's a character looking at his past, discussing his previous adventures, and reckoning with the choices he's made. As a goodbye to this iconic character , Ford is doing some great work, and it's interesting to see Jones as a living, breathing character and not a serial star for once. It's hard to believe, but some of the best moments of Dial of Destiny take the weaknesses of Kingdom of the Crystal Skull and makes them strengths, as Ford gives a moving explanation as to why Mutt isn't in this film , and the film's final moments with Indy are extremely lovely and surprisingly moving in a way this series rarely is .

To be completely honest, we probably didn't need any Indiana Jones movies after The Last Crusade , but Dial of Destiny certainly works as a better conclusion to this series than Crystal Skull , which seems to be the primary reason why this film exists in the first place. Waller-Bridge is a charming addition to this franchise, and Mads Mikkelsen is a great villain as always — even if we've seen characters like him before in this universe — and they do make this feel more essential than it probably is. However, Dial of Destiny does a fairly decent job of giving Ford a goodbye to one of his most famous characters, wrapping up this series with a nostalgic, charming bow.

Indiana Jones and the Dial of Destiny

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

2. Indiana Jones and the Last Crusade

The brilliance of Indiana Jones and the Last Crusade is that it’s almost a stealth origin story. You think you’re just watching the next adventure of Indiana Jones, but in fact, the entire film is telling the audience where Indy came from and why he is the way he is. The movie literally begins with Young Indy, as Spielberg channels his love of Westerns with a thrilling sequence that runs through the foundation of some of Indy’s hallmark traits , all in the midst of an elaborate and supremely entertaining chase sequence. River Phoenix is pitch-perfect casting as the young Indiana Jones, composer John Williams gets playful with some of the best work of his career, and it all culminates with the introduction of Indy’s father, followed by an inspired cut to an adult Indy hunting the same MacGuffin decades later. And that’s just the first 15 minutes.

Last Crusade is the most ambitious film of the franchise, as Spielberg and Lucas send their hero on a globe-trotting adventure to recover yet another all-important religious artifact. But the “adventure” is, for all intents and purposes, a facade. The crux of the story lies in Indy rekindling and accepting his relationship with his father , who, in another case of spot-on casting, is played by James Bond himself, Sean Connery . The dynamic between Ford and Connery is wonderfully executed. It’s combative but never mean-spirited, and despite their estrangement, they assume dominant and submissive roles in the most subtle of ways, many times evoking the entire relationship with a simple glance.

The film also acts as Spielberg and Lucas’ rebuke to Temple of Doom . It relishes the talk-y intellectual moments of Raiders and eschews the more grotesque aspects of Temple of Doom in favor of comedy and snappy dialogue. Indeed, at times this tonal course correction goes a little overboard, losing a bit of the drama along the way (Hitler signing Indy’s Grail Diary is just silly), but overall it finds a nice balance and culminates in a wonderfully affecting finale with the highest emotional stakes of the series.

Indiana Jones and the Last Crusade

In 1938, after his father goes missing while pursuing the Holy Grail, Indiana Jones finds himself up against the Nazis again to stop them from obtaining its powers.

1. Raiders of the Lost Ark

Honestly, The Last Crusade makes a strong case for the best of the Indiana Jones bunch, but ultimately the consistent sharpness and God-tier-level filmmaking of Raiders of the Lost Ark nudges it just ahead to the top spot. There’s not a false note to be found in Spielberg’s buoyant, adventurous thrill ride . Karen Allen’s Marion Ravenwood is just as compelling as Indy himself, but she isn’t an attempt to create a female copy of the eponymous hero. The chemistry between the two drives the film, as does Ford’s mix of moxie, smarts, and luck that brings Indiana Jones to vivid life .

What makes Jones a unique action hero is that he’s always a little bit in over his head. He doesn’t have every beat worked out 30 steps in advance — there’s an on-the-fly quality to his attitude that makes the ride that much more enjoyable because as an audience member, you don’t necessarily feel like Indiana Jones can survive anything. He does, mind you, but it’s always a close call. The iconic image of Indy always reaching at the last moment to grab his hat is not only clever, but it’s also indicative of Indiana Jones as a whole . He makes it out in one piece, but often by the skin of his teeth.

Spielberg brilliantly sets up the world and the hero in the film’s prologue, which takes a cue from Bond by beginning the film with a set piece that’s only tangentially related to the rest of the plot. But we learn almost all we need to know about Indy in that first sequence, and then the character is even further fleshed out in the next sequence, in which this dashing hero is revealed to be a highly intelligent professor at Marshall College . What sets this apart from a “secret identity” dynamic as seen in superhero stories is that Jones’ day job and adventures are one and the same — he relishes knowledge and action, and doesn’t even necessarily need to hide one facet of his being from the other.

Looking back on Raiders of the Lost Ark now, it’s refreshing to see just how dialogue and character-driven the film is as a “blockbuster” movie . It’s an action-adventure movie, sure, but the bulk of the runtime is made up of interactions between human beings, not explosions and set pieces. And the set pieces that Spielberg does present are all the better for it, because the audience isn’t being inundated with adrenaline shot after adrenaline shot. They come at opportune moments, they’re impeccably crafted, and they’re wholly character-driven. Combine that balance with some of the most compelling characters put on screen, throw in a hefty dose of Harrison Ford’s charm and vulnerability, and you’ve got a recipe for an enduring masterpiece .

Raiders of the Lost Ark

In 1936, archaeologist and adventurer Indiana Jones is hired by the U.S. government to find the Ark of the Covenant before the Nazis can obtain its awesome powers.

• Movie Features
• Steven Spielberg

Screen Rant

Indiana jones: all 4 movies, ranked from worst to best.

Your changes have been saved

Email Is sent

Please verify your email address.

You’ve reached your account maximum for followed topics.

I Thought Nothing Could Be Worse Than Dragonball Evolution Until This 2023 Live-Action Movie Proved Me Wrong

Stephen king's gunslinger revised edition fixed 1 major dark tower villain problem, 15 jason statham action heroes ranked weakest to strongest.

With the release of the fifth Indiana Jones movie, Indiana Jones and the Dial of Destiny in 2023, Harrison Ford has been starring as Indy for 42 years and counting, but which is the best? The movies are iconic, but the treasure-hunting professor has also appeared in the TV series, The Young Indiana Jones Chronicles with Sean Patrick Flanery taking on the role, along with coming books, tie-in novels, video games, and much more. Through it all, Indiana Jones remains one of the most popular action-adventure heroes in movie history.

In the 1970s, a young George Lucas wrote The Adventures of Indiana Smith , his own modern take on the 1930s movie serials and pulp stories that would later inspire him to create Star Wars . His friend Spielberg, taking a break from editing Close Encounters of the Third Kind (via CBR ), got involved with the process and eventually, the pair took the concept to Paramount Pictures after a quick name change. Indiana Jones, an archaeology professor with a talent for discovering rare and mystical antiquities, then became the star of five movies.

RELATED: The True Story Behind Indiana Jones' Real Name

Indiana Jones and the Kingdom of the Crystal Skull (2008)

• Stream now on Disney+ & Paramount+

The Indiana Jones movies took a 19-year break after the third movie, I although three seasons of a prequel TV series aired in between that of the 2008 sequel, Indiana Jones and the Kingdom of the Crystal Skull . The movie focused on the Cold War, changing the villains from the Nazis to the Soviets. It also had Indy learn about the existence of aliens and their arrival on Earth in the past. Spielberg was back as the director and some fan favorites returned, including Karen Allen as Marion. Critics were divided.

Fans also panned Indiana Jones and the Kingdom of the Crystal Skull online after its release, and it's the lowest-rated movie of the entire franchise on Rotten Tomatoes audience scores. Many complaints pointed out the aliens, which made little sense in a franchise that included a centuries-old Templar, voodoo, and a face-melting Ark of the Covenant . The movie was supposed to take the franchise in a new direction with Indy's son Mutt (Shia LaBeouf) as the focus, but he was the most disappointing character in the movie and the entire franchise died again for another 15 years. The movie isn't bad, but it doesn't reach the level of its predecessors.

Indiana Jones and the Temple of Doom (1984)

The first Indiana Jones movie saw the archaeology professor/treasure hunter searching for a biblical artifact to stop the Nazis from gaining superhuman powers in World War II. That made the second Indiana Jones movie's plot choice a bit strange. Leaving the world of biblical artifacts behind in Indiana Jones and the Temple of Doom , Indy instead went to India and ended up in an adventure involving black magic, child slavery, and human sacrifice. Indiana Jones went from the Ark of the Covenant to a voodoo cult. The movie was a culture shock, with the Nazis back and a high priest eating monkey brains.

When the movie was released, it received mixed reviews. Most of the critics who disliked it deemed it too dark compared to the fun adventure story from the first movie. However, the movie received a more positive critical analysis when reassessed years later. There are still problems, including Kate Capshaw's panicked damsel in distress, Willie Scott, and the offensive racial stereotyping. However, Indiana Jones and the Temple of Doom has fun moments and Ke Huy Quan's Short Round remains a fan favorite , making his Oscar win 39 years later such a special moment for fans of Indiana Jones movies.

Indiana Jones and the Last Crusade (1989)

In 1989, it seemed the Indiana Jones movies went back to what made Raiders of the Lost Ark so beloved. Dispensing with the horror moments from Temple of Doom , Indy was back in a swashbuckling adventure with one big twist: this time, his dad was along for the ride. What makes Indiana Jones and the Last Crusade such a good time is the chemistry between Harrison Ford and Sean Connery, who played Indy's dad, Henry Jones Sr. The back-and-forth quips between the two megastars made every moment they shared on the screen electric.

The movie saw the father and son team attempting to beat the Nazis to the Holy Grail, which they believed would give them immortality. The movie sent Indy and Henry on an epic adventure, with twists, turns, and betrayals, and it was a return to form for the franchise. It was a smashing box office success and the humor mixed with the adventure made it one of the best movies in the action-adventure genre in the 1980s. With its success, it was a shock that it took almost 20 years to see another addition to the Indiana Jones movies franchise.

Raiders of the Lost Ark (1981)

Raiders of the Lost Ark captured lightning in a bottle, and four decades of action cinema have desperately tried to follow in its footsteps. Looking back, it seems almost hard to believe that no one in Hollywood really had faith in Lucas and Spielberg's for the treasure-hunting adventurer. Once the movie was out, it ended up as a monster success, and the best action-adventure movie retains its icon status. While its genesis lies in paying tribute to the serial films of Spielberg and Lucas's childhood, it ended up standing the test of time all on its own.

RELATED: 25 Behind-The-Scenes Revelations From The Making Of The Indiana Jones Movies

People loved Harrison Ford as Han Solo in the Star Wars franchise, but it is Indiana Jones he remains most known for today. In Raiders of the Lost Ark , he was the perfect mix of a self-deprecating yet confident adventurer and the movie added the perfect touches of humor in between inspired action scenes. The supporting cast was just as great, with Karen Allen's tough Marion becoming a role model for young girls and John Rhys-Davies an instant fan favorite as Sallah. Adding in the Nazi villains and the World War II setting was just icing on the cake, as it made Indiana Jones the ultimate action hero.

Raiders of the Lost Ark won five Oscars in nine nominations, which was impressive for a pure action movie. The Library of Congress named the movie to the National Film Registry for preservation in 1999, citing it as culturally, historically, or aesthetically significant. Raiders of the Lost Ark helped create what action movies and even video games would look like for the next four decades and of all the Indiana Jones movies, it is Raiders of the Lost Ark that remains the one undisputed masterpiece.

Key Release Dates

Indiana Jones and the Dial of Destiny

• SR Originals

Log in or sign up for Rotten Tomatoes

Trouble logging in?

By continuing, you agree to the Privacy Policy and the Terms and Policies , and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes.

Email not verified

Let's keep in touch.

Sign up for the Rotten Tomatoes newsletter to get weekly updates on:

• Upcoming Movies and TV shows
• Rotten Tomatoes Podcast
• Media News + More

By clicking "Sign Me Up," you are agreeing to receive occasional emails and communications from Fandango Media (Fandango, Vudu, and Rotten Tomatoes) and consenting to Fandango's Privacy Policy and Terms and Policies . Please allow 10 business days for your account to reflect your preferences.

OK, got it!

• What's the Tomatometer®?
• Login/signup

Movies in theaters

• Opening this week
• Top box office
• Coming soon to theaters
• Certified fresh movies

Movies at home

• Fandango at Home
• Prime Video
• Most popular streaming movies
• What to Watch New

Certified fresh picks

• 77% Twisters Link to Twisters
• 86% Longlegs Link to Longlegs
• 92% National Anthem Link to National Anthem

New TV Tonight

• -- The Decameron: Season 1
• -- Snowpiercer: Season 4
• -- Charlie Hustle & the Matter of Pete Rose: Season 1
• -- 61st Street: Season 2
• -- Time Bandits: Season 1
• -- Wayne Brady: The Family Remix: Season 1
• -- Elite: Season 8
• -- Olympic Highlights with Kevin Hart and Kenan Thompson: Season 1
• -- Dress My Tour: Season 1
• -- Dirty Pop: The Boy Band Scam: Season 1

Most Popular TV on RT

• 56% Those About to Die: Season 1
• 80% Star Wars: The Acolyte: Season 1
• 72% Lady in the Lake: Season 1
• 100% Supacell: Season 1
• 93% The Boys: Season 4
• 77% Presumed Innocent: Season 1
• 94% My Lady Jane: Season 1
• 83% Cobra Kai: Season 6
• 89% Sunny: Season 1
• 89% The Bear: Season 3
• Best TV Shows
• Most Popular TV
• TV & Streaming News

Certified fresh pick

• 83% Cobra Kai: Season 6 Link to Cobra Kai: Season 6
• All-Time Lists
• Binge Guide
• Comics on TV
• Five Favorite Films
• Video Interviews
• Weekend Box Office
• Weekly Ketchup
• What to Watch

Best Horror Movies of 2024 Ranked – New Scary Movies to Watch

30 Most Popular Movies Right Now: What to Watch In Theaters and Streaming

What to Watch: In Theaters and On Streaming

Awards Tour

Weekend Box Office: Twisters Touches Down with Impressive $80 Million Debut

‘Seen on the Screen’ Podcast: A Celebration of Universal Stories 

• Trending on RT
• Deadpool & Wolverine
• Twisters First Reviews
• 80s Classics
• Movie Re-Release Calendar

New Biography Movies on Disney+ (2024)

Indiana Jones 5 Becomes Lowest-Rated Movie In Franchise on Rotten Tomatoes

Reviews from an early screening of Indiana Jones and the Dial of Destiny have resulted in an unexpectedly low Rotten Tomatoes score...

Indiana Jones 5 will be Harrison Ford's final run as the iconic action hero and the "final installment" of the 40-year-old franchise , according to Disney itself. Dial of Destiny , which clocks in at a lengthy two hours and 22 minutes , has become Lucasfilm’s most expensive movie ever , costing more to make than any of the films in the Star Wars sequel trilogy.

In the months leading up to Indy 5's release, director James Mangold has defended the sequel against online trolls who claimed that its test screenings have been a "disaster." Mangold denied that such screenings even happened and later shut down other rumors attempting to rile up controversy at the end of 2022.

Indy 5 Hits Franchise Low on Rotten Tomatoes

Indiana Jones and the Dial of Destiny was screened in France at the Cannes Film Festival. 

Following the movie’s debut, it didn’t take long for reviews to make their way online. And the consensus: Decidedly mixed. After eight reviews, the Rotten Tomatoes score for Indiana Jones 5 currently sits squarely at a 52% critic approval score, which, for now, has earned it the unenviable label of “rotten.”

As a whole, the early reviews for Indiana Jones 5 are extremely mixed. Some praised it as a fitting conclusion to the adventure saga that captures the spirit of Steven Spielberg's original four movies while others tore into the movie while others tore it apart as joyless and devoid of a soul. 

The biggest criticisms unsurprisingly blame a weak script that doesn't allow for the story to take enough risks, instead relying too heavily on gimmicky fan service. 

On a more uplifting front, there was plenty of praise for John Williams' original score and Harrison Ford's final performance as Dr. Jones, with some going as far as to say the actor carries Dial of Destiny throughout.

52% is also the lowest ever for the series, with the other entries’ scores listed below:

• Raiders of the Lost Ark : 93%
• Indiana Jones and the Temple of Doom : 76%
• Indiana Jones and the Last Crusade : 84%
• Indiana Jones and the Kingdom of the Crystal Skull : 77%

Could Trouble Be on the Horizon for Dr. Jones?

For starters, it’s fortunate that Dial of Destiny is meant to be the final movie in the Indiana Jones franchise , as its reception won’t pave the way for future installments.

In fact, a Disney+ show that was in development and intended to be set in the world of films was canned by the streamer .

Indeed, this is truly meant to serve as Indy’s final adventure. Harrison Ford is 80, and while he appears quite spry for an octogenarian, he reportedly has no desire to don the fedora and leather jacket again.

So, if the box office and reviews aren’t where Disney might want them to be when all is said and done, that’s okay. And the movie hasn’t even been widely released as of yet. It’s quite probable that once Indy 5 opens in June, it’ll make a considerable splash with fans both old and new as they take in one last ride with the legendary Dr. Jones.

Indiana Jones and the Dial of Destiny hits theaters on June 30.

LATEST NEWS

• Tickets & Showtimes
• Trending on RT

• TV & Streaming Shows
• Essential Studio Collections
• Best & Popular

Weekend Box Office

Weekend box office: twisters touches down with impressive $80 million debut, lee isaac chung's decades-later sequel isn't as big a hit with international audiences, but domestically it recorded the third-best opening of the year..

TAGGED AS: Box Office , movies , news

Theaters always love when polling and experts are wrong. Don’t we all? Such held true this weekend with another film getting sequelized after nearly three decades, and the nostalgic appeal of those VHS rewinds and cable viewings carried over. This just a week before one of the biggest films of the summer is about to open, and while the international numbers are not nearly as triumphant as the domestic, one of the questions that lingers is whether Twisters will last like the original back in 1996 or become this year’s Mission: Impossible – Dead Reckoning ?

King of the Crop: Twisters Touches Down with $80 Million Debut

Twisters politely asked other films to move this weekend to give it room to take the top spot at the box office. There’s no mincing words here: it’s incredible that the film, directed by Lee Isaac Chung and tracking for around a $50 million start, opened to $80 million. That’s the seventh-best total for the third week in July, ahead of Harry Potter and the Half-Blood Prince ($77.8 million), Inception ($62.7 million), Ant-Man ($57.2 million), and Charlie and the Chocolate Factory ($56.1 million). The original Twister , released 28 years ago in May 1996, opened to $41 million, which would be about double the amount in today’s dollars. Twisters nearly matched that with the third-biggest opening of the year in a summer looking for a fourth $200 million grosser. Surely the season will get that soon after next weekend, but how good are the odds of Twisters hitting that milestone as well?

Opening over $60 million already gave the film significantly better odds, as only four July releases to begin north of that have failed to reach $200 million. They include The Simpsons Movie , Tim Burton’s maligned 2001 remake of Planet of the Apes , one of Marvel’s intro films ( Captain America: The First Avenger ), and the same studio’s 2021 release of Black Widow during the pandemic. Black Widow and The Simpsons are the only two films to open over $70 million this month and not reach $200 million. Black Widow opened to $80.3 million and X-Men Origins: Wolverine is the only other summer release to have an $80+ million opening and not reach $200 million. Universal has to like those odds to recoup a section of the film’s costly budget, reported on the low side as $155 million and on the high side as $200 million.

However, it was about this time last year that Mission: Impossible – Dead Reckoning opened to $54.6 million nine days before running up against the cultural juggernaut that was Barb enheimer . Next week, Twisters faces off against this summer’s most anticipated film in the older kids’ realm, the 2-for-1 blockbuster known as Deadpool & Wolverine . How much will interest veer off while so many are flocking to that? Reviews are all over the map on Twisters , with most ultimately positive, and surveyed audiences gave it an A- Cinemascore – the same as the first film. The sequel/name recognition follow-up grossed only $42.7 million (including an early release last week) overseas and just $1.5 million in China. If $155 million is the actual production cost, we’re talking close to $400 million before the film starts turning a profit. It is not going to make all that here. The original grossed $494.5 million globally, which would be nearly a billion today.

The Top 10 and Beyond: Despicable Me 4 and  Inside Out 2 Still Holding Strong

Universal did enjoy its own 1-2 punch this weekend with Twisters in first and Despicable Me 4 coming in second with $23.8 million in its third weekend. Now at just under $260 million, the latest in the franchise is still about $9-12 million behind the pace of the two Minions films after 19 days of release, though it did best Minions’ third weekend of $22.9 million, as well as Spider-Man: Homecoming’ s $22.1 million, as it has climbed ahead of the pace of the latter. That puts the fourth film in the $340 million territory. Look for a domestic finish somewhere around there. Globally the film is over $574 million, making it the fifth film and third animated film this year to cross half a billion. Currently it is the third most profitable release of 2024 behind Kung Fu Panda 4 . It will be second this week.

The most profitable film of the year (and nothing comes close) is Disney/Pixar’s Inside Out 2 , which made another $12.8 million and is now just shy of becoming the 15th film to break the domestic line of $600 million — the fifth since 2020 and the pandemic. At $596.3 million, the film is $14 million off the overall pace of Jurassic World and roughly $4-5 million ahead of Barbie . The latter had a sixth weekend of $15.1 million, while the former added $11.4 million. Inside Out 2 is looking at landing in the $640 million domestic range, which would be good enough to be the tenth highest-grossing (first-run) release of all time here at home. At $1.443 billion, it has passed Avengers: Age of Ultron for 15th on the all-time worldwide list with $1.425 billion and is approaching Barbie ($1.445 billion), Frozen II ($1.453 billion – the highest-grossing animated film ever, not counting 2019’s The Lion King ), and Top Gun: Maverick ($1.495 billion).

Down to fourth place is Neon’s little horror sensation, Longlegs . Oz Perkins’ film with Maika Monroe and Nicolas Cage fell back to $11.7 million, a decent fall of around 48%. With nearly $45 million in the bank, it is now well placed to eclipse the studio’s highest-grossing domestic title to date, Bong Joon Ho’s Oscar-winning Parasite ($53.3 million). Longlegs’ weekend is lower than most films opening in July surrounding a $45 million 10-day haul. The closest equivalent is The Lone Ranger’ s $11.5 million second weekend, and if Longlegs manages to stay above that film’s massive falls back in 2013, it could be looking at around $70 million, a huge win for the $10 million production.

The top-grossing horror film of the year is in fifth place this week. A Quiet Place: Day One grossed $6.1 million and now holds a total of $127 million. While that is closely aligned with the 24-day totals of Grown Ups and The Heat , those films grossed between $9-10 million on weekend four. Day One’ s weekend is closer to last year’s Indiana Jones and the Dial of Destiny ($6.67 million), but even then, Day One is still about $31 million off that pace. Ultimately it should end up in the $140-150 million region. Worldwide the film is over $240 million and is one of the year’s most profitable.

One of the least profitable films — and certainly looking like one of the year’s biggest losers — is Fly Me To The Moon . The Apple Original Films production released by Sony into theaters fell to just $3.3 million in its second weekend, down from a lackluster $9.4 million. The unfathomably budgeted $100 million production initially set for a streaming release has grossed just $16.3 million to date and $14.3 million globally. The Scarlett Johansson/Channing Tatum rom-com is destined to join Furiosa , The Fall Guy , and Horizon as the biggest money losers of 2024.

Back on the positive side involving Sony is Bad Boys: Ride or Die , coming in with $2.6 million to finish seventh in its seventh weekend. It is now making the slow walk towards $200 million, as it is slightly behind Godzilla x Kong: The New Empire’ s pace. That film had $191.9 million at the end of its seventh weekend, where it also grossed $2.61 million. It ultimately finished with $196.3 million. Ride or Die could end up finishing in the $190+ million no man’s land that both The New Empire and Kung Fu Panda 4 fell into. That’s still a solid haul of over $380 million worldwide and a winner for the studio.

Kevin Costner’s Horizon: An American Saga – Chapter 1 dropped 69% in its fourth weekend to bring its total to just $28 million. Will we ever see Chapter 2 in theaters now, or will Warner Bros., bury it for another tax writeoff? The studio has had a bad summer with numbers for Furiosa , The Watchers , and this after starting the year well with Dune: Part Two and Godzilla x Kong: The New Empire , two of the most profitable films of the year. As a result of its steep climb, Jeff Nichols’ The Bikeriders crept back into the top ten with $700,000, bringing its domestic total to $21.2 million, not nearly enough to cover its $40 million price tag.

Ti West’s MaXXXine lost over 1,300 theaters and fell to just $819,000 in its third weekend, bringing its total to $13.9 million. That makes it the highest-grossing entry in the trilogy, and it’s already well into profit territory. A24 also continued the platform run for Greg Kwedar’s Sing Sing this weekend instead of expanding it. The film about a theatrical production from men who are incarcerated grossed $64,000 in four theaters for a per-theater average of $16,021. The studio saw similar drops in their continued platform releases of Uncut Gems and The Whale , though each benefited from awards season hype and ultimately found greater audiences in expansion. Sing Sing has made $234,000 to date, and we’ll see how it rolls out in the weeks ahead. IFC tried a modest wide release for its horror film Oddity , and it grossed just $555,000 this weekend in 790 theaters. That’s a per-theater average of just $703. Not everything will be Late Night with the Devil . The Hindi comedy Bad Newz , meanwhile, grossed an estimated $1 million in 477 theaters.

On the Vine: Deadpool & Wolverine Arrive to… Save the MCU?

Reynolds & Jackman. Deadpool & Wolverine . The most hyped film of the summer (that was originally supposed to kick off the season pre-strikes) finally arrives to dominate the remainder of the season. The summer should easily have another $300 million film, but will it have its next $400 million title? It only needs $370.3 million to finally take the crown (without thorns) from The Passion of the Christ as the highest-grossing “R”-rated film ever. On the counterprogramming side, Focus Features, which has struggled this year to find an audience, has chosen THIS weekend to platform Sean Wang’s Didi , which won the Audience Award at this year’s Sundance film festival.

Full List of Box Office Results: July 19-21, 2024

Erik Childress can be heard each week evaluating box office on  Business First AM  with Angela Miles and his  Movie Madness Podcast .

[box office figures via  Box Office Mojo ]

Thumbnail image by Sue Gordon/©Universal Pictures

On an Apple device? Follow Rotten Tomatoes on Apple News .

Related News

30 Most Popular Movies Right Now: What to Watch In Theaters and Streaming

‘Seen on the Screen’ Podcast: A Celebration of Universal Stories 

Glen Powell Movies Ranked by Tomatometer

More Weekend Box Office

Weekend Box Office: Despicable Me 4 Crosses $200 Million to Hold on to Top Spot

Box Office 2024: Top 10 Movies of the Year

Weekend Box Office: Despicable Me Racks Up $122 Million Through July 4 Holiday

Movie & TV News

Featured on rt.

July 22, 2024

25 Most Popular TV Shows Right Now: What to Watch on Streaming

50 Best 1980s Cult Movies & Classics

July 19, 2024

71 Best Sci-Fi Movies of the 1950s

Top Headlines

• Best Horror Movies of 2024 Ranked – New Scary Movies to Watch –
• 30 Most Popular Movies Right Now: What to Watch In Theaters and Streaming –
• 25 Most Popular TV Shows Right Now: What to Watch on Streaming –
• 50 Best 1980s Cult Movies & Classics –
• 71 Best Sci-Fi Movies of the 1950s –
• 35 Best 1980s Fantasy Movies Ranked –

10 Criterion Collection Movies with the Lowest Rotten Tomatoes Scores

Your changes have been saved

Email Is sent

Please verify your email address.

You’ve reached your account maximum for followed topics.

Known for showcasing the greatest and most respected cinema in history, The Criterion Collection has become synonymous with quality and meticulous restoration/distribution of many classics and contemporary hits. Their catalog consists of the work of the greatest directors of all time and movies taught in film school; there is no denying the reputation that comes with the Criterion moniker. However, a few films fall short of critical expectations in its expansive catalog.

While most of the movies included in The Criterion Collection boast a healthy Rotten Tomatoes score, a handful turned out to be downright rotten; all films included here landed under 50%. These are the Criterion Collection movies with the lowest Rotten Tomatoes scores.

11 Jabberwocky (1977)

45% rotten with 22 reviews.

Jabberwocky

A hapless peasant's life is changed when he is singled out as the one person who can say the legendary monster known as the Jabberwock. This causes Dennis Cooper (Michael Palin), who has no interest in adventure or fortune, to become an unlikely hero. With the promise of the princess's hand in marriage and riches, Cooper bumbles into the role of monster slayer. The movie, set in the Middle Ages, is loosely based on the abstract poem "Jabberwocky" by Lewis Carroll.

Not Quite the Monty Python Critics Expected

Perhaps tying Jabberwocky to the famous comedy troupe Monty Python with Michael Palin starring and Terry Gilliam directing led to the movie's lukewarm reception. Jabberwocky is not nearly as witty as the renowned and rule-breaking TV show , relying heavily on slapstick humor, which led to many critics considering it dull in its approach.

The audience reaction is about the same, currently sitting at 47%. However, some respect the project and do not feel it is as out of step with Monty Python as others; some even see it as a complimentary follow-up to Monty Python and The Holy Grail with its visual direction and themes.

You can stream Jabberwocky on The Criterion Channel, Prime, Tubi, and Peacock

The Criterion Collection Explained: What it is and Why it's So Important

No DVD or Blu-ray distribution company is as lauded, beloved, and important as The Criterion Collection, and here's why.

10 Black Moon (1975)

45% rotten with 11 reviews.

Told through a series of dreamlike sequences inspired by Lewis Carrol's Alice in Wonderland , Black Moon sees a young girl, Lily, escape a complex relationship with men in favor of a life in the countryside with an eccentric family. Mostly free of dialogue or a straightforward narrative, the movie flows between various sequences and odd encounters to tell a surreal story of youth in revolt. Open to interpretation, Black Moon has primarily been recognized as a story about female empowerment.

Nonsensical Approach Fell Flat With many Critics

Director Louis Malle's abstract and nonsensical approach to retelling Alice in Wonderland met with mixed reviews from critics. Many felt the movie was tedious and overindulgent. In fact, many went so far as to say the film was hard to take seriously and a far cry from the profundity of its source material. On the other side of the spectrum, others compared the work to touch on the same brilliant surrealism of filmmakers like David Lynch and Luis Buñuel. At least, most agree that the cinematography is spot on.

You can stream Black Moon on The Criterion Channel

9 Indiscretion of an American Wife (1953)

43% rotten with 14 reviews.

Originally known as Terminal Station and containing (roughly) an extra 15 minutes of content, Indiscretion of an American Wife follows a married American woman, Mary Forbes, who, while visiting Rome, falls in love with an Italian-American professor, Giovanni Doria. The month-long affair leads to a passionate romance, and as Mary is set to leave, Giovanni ends up trying to convince her to stay. This leads to larger issues when the two are arrested for public indecency when they are caught in a passionate embrace on the train.

Either Cut of the Film Does not Seem To Cut it With Most Critics

Drawing unfavorable comparisons from critics who felt the movie was like a poor man's Brief Encounter (1945), outlets like Variety and Time seem to chalk the film's failure down to dull pacing and stilted performances; this critique is applied to both cuts.

At the same time, there is a stark contrast between critics and fans, with many of them having opposite takes on the chemistry between Montgomery Clift and Jennifer Jones. Others liked the exploration of cultural differences and the real-time storytelling of the Vittorio De Sica drama. With such contrasting opinions, it is best to check it out yourself.

You can stream Indiscretion of an American Wife on Prime, Plex, MGM+, or Fubo

8 Androcles and the Lion (1952)

43% rotten with 7 reviews.

Most will be familiar with Androcles and the Lion through loose childhood re-tellings of the classic play, which involves a man removing a thorn from the paw of a lion. Staying close to the play, the Chester Erskine and Nicholas Ray-directed feature follows Androcles, a persecuted Christian who, after evading the authorities, is eventually captured and set to be eaten by a lion for the amusement of the Roman people. Here, he runs into the lion he saved, and the two, instead of fighting, perform a dance that delights the crowd and signals the end to the persecution of Christians.

Many a Miscast Led to Some Being Sour

Perhaps there was still some bitter blood in the air for critics and cinema fans at the time, with Harpo Marx's firing clouding the production. The cast here is generally the most scrutinized element, including Maurice Evans' portrayal of the emporer, which was criticized by some when George Sanders was initially considered for the part.

Movies honoring traditional Christian values are also bound to be met with mixed reception in the modern era. Still, the supporting cast was well-received, and the film was generally enjoyed for its witty humor, script, and cinematography.

You can stream Androcles and the Lion (1952) on The Criterion Channel

7 Armageddon (1998)

43% rotten with 177 reviews.

After NASA discovers an asteroid the size of Texas heading straight to Earth, they reach out to a crew of deep-core drillers led by Harry Stamper (Bruce Willis) to stop it, tasked with planting a nuclear device that will split the comet in two. The team undergoes a near-impossible mission with the odds stacked against them. Praised for its visual effects at release, the movie was equally criticized for its pseudo-science and ludicrous plot.

How Did Armageddon Even Get Included in The Criterion Collection!?

For long-time fans of The Criterion Collection, Michael Bay's Armageddon inclusion in their catalog has always been a bit of a joke. Released in 1998, the movie was boasted as Criterion's "first 2-disc release." This is just one of the earlier films that that company got the rights to release, and it is not indicative of their overall vision.

Fans of over-the-top sci-fi action films of the 90s may still get a kick out of this one. However, looking at it within the Criterion Collection, it sticks out like a sore thumb. This is notably true when the critiques against this one are more scathing and less nuanced than any other movie included in this list.

You can Stream Armageddon on AMC+ or Fubo

The 12 Best Movies to Watch on the Criterion Channel

For those looking to get into Criterion but don't know where to start, here are some of the most important, accessible films the channel has to offer.

6 Equinox (1970)

33% rotten with 6 reviews.

While going out for a picnic, four friends stumble across an old, destroyed home. Within, they find a mysterious book, the infamous Necronomicon. As they attempt to translate the text from the flesh-bound book, they are met by the devil in disguise, a park ranger named Asmodeus. Asmodeus ends up sending a plethora of monsters against the four to retrieve the cursed tome for himself.

Amateurish but Ambitious Attempt at Horror

The charm of B-movies will often be lost on critics, with everything from stilted dialogue, poor scripting, and emphasis on sensationalism over art sure to make Equinox unfriendly to the critical crowd. However, as far as B-movies go, Equinox still has its charms, including the overly ambitious effects on a budget.

Criterion picked up the film for its praise of George Lucas and practical effects from the maestro of stop animation, Ray Harryhausen. Some have even quoted it as a precursor to The Evil Dead . It is cheesy and objectively a 'bad movie,' but it still deserves its cult following.

You can stream Equinox (1970) on The Criterion Channel or Max

5 Valley of the Dolls (1967)

33% rotten with 40 reviews.

valley of the dolls

Valley of the Dolls follows three aspiring actors struggling to make it in the film industry: friends Anne Welles (Barbara Parkins), Neely O'Hara (Patty Duke), and Jennifer North (Sharon Tate). Each offering their approach to the craft with their distinct personalities, all three end up succumbing to the same downfall: an addiction to barbiturates, with "dolls" in the title, a reference to the slang term for depressants.

Trash Instead of Class in Dealing with The Struggles of Fame

The movie was generally seen as misdirected, with Roger Ebert best summarizing the distaste that most critics had for it when he said, "They fall because they drink too much and take too many pills, but their main offense seems to be their irregular private lives." Indeed, the movie focused more on vilifying the private lives of the three girls as opposed to the system that led to their addiction. The Valley of the Dolls was not the anti-Hollywood movie critics desired, lacking the depth many wanted to see.

In a humorous turn of events, the parody film of the commercial hit but critically panned The Valley of the Dolls , Beyond the Valley of the Dolls would see Roger Ebert writing and Russ Meyer directing; that film sits fresh at 76%. Still, there are fans of Valley of the Dolls , with many loving the movie's trashy, sensational, and over-the-top nature.

You can rent Valley of the Dolls on Amazon or Apple TV

4 Jellyfish Eyes (2013)

29% rotten with 14 reviews.

Masahi and his mother move to a small town after his father's passing, signaling a drastic change of pace and a period of grief for the family. However, things change when Masahi learns that students at his school can control strange companions known as F.R.I.E.N.D.s.

The young boy soon gets his creature, a jellyfish-like monster that forms a unique bond with Masahi. While everything seems picturesque, the students soon learn that their companions are being used as part of an evil ploy by a cult to harness negative energy.

Where Did It All Go Wrong?

Takashi Murakami is a renowned artist, and the prospect of him directing a visually rich film certainly had fans abuzz. Yet, when Jellyfish Eyes made it to the theaters, it was a complete flop commercially and critically. While the base designs were as adorable as stills suggest, the actual implementation of the various creatures was seen as crude, rushed, and ugly. In addition, the film was seen as a cacophony of horrible audio and colors, which was off-putting to many.

The inclusion of this film in The Criterion Collection was even a point of contention with many, who saw it as not reflecting the company's aim to give special editions to significant films. Still, Jellyfish Eyes is not without its fans, particularly those fond of shows like Pokemon or Digimon . The myriad of creatures and their unique designs were enough for many to enjoy the Japanese fantasy movie.

You can stream Jellyfish Eyes on The Criterion Channel

3 All Monsters Attack (1969)

29% rotten with 7 reviews.

Also known as Godzilla's Revenge , All Monsters Attack follows the imagination-driven adventures of a young boy named Ichiro, who fantasizes about what life would be like on Monster Island. Ichiro imagines getting revenge on his bullies, making friends with Minilla, and witnessing the big man himself, Godzilla, battling other kaiju.

A Colossal Failure For The Giant Kaiju

Godzilla could have been included in this list a few times over, with some of the Toho-era films failing to be deemed fresh by critics on Rotten Tomatoes. This is, however, misleading, and fans of the giant kaiju are likely to care more about how fans rank the entire Godzilla franchise than about critical response. Because of its cult following and significance, it makes sense that Criterion would release all the Toho Godzilla films regardless of their reception.

Why is All Monsters Attack rated the lowest among the Godzilla films in The Criterion Collection? There is the use of stock footage, a talking Minillla, a lack of monster battles, and a poor attempt at turning Godzilla into a property for kids. All these are valid criticisms of the movie, but fans of Godzilla will still watch All Monsters Attack .

You can stream All Monsters Attack on The Criterion Channel, Max, Tubi, or Plex

The 10 Best Horror Movies on The Criterion Channel

The Criterion Channel is host to some incredible horror films. Here are 10 of the best this streaming service has to offer.

2 All These Women (1964)

27% rotten with 11 reviews.

The comedy by acclaimed director Ingmar Bergman centers around the exploits of a pompous music critic, Cornelius, who visits the summer estate of a famous cellist, Felix, to write his biography. However, Cornelius is unable to get direct access to the musician to complete his work and instead finds himself entangled with the man's various servants and lovers.

Ingmar Bergman's Failed Attempt at Comedy

Not only has time not been kind to the comedy in All These Women , but even at its release, critics saw it as a painfully misdirected attempt at humor. Bergman was not a fan of the work, especially the use of color, which he found horrid enough to return to a black-and-white format for five years before attempting a color film again. Constant contributors to the work of Bergman, Bibi Andersson and Harriet Andersson, were also seen as being underutilized and given a poor script that did a disservice to their talents.

There is little love for All These Women. However, some did appreciate the fourth-wall-breaking comedy, and the cinematography from Sven Nykvist, despite reservations about the use of color, was still considered visually alluring. Bergman was dismissive of the work; critics hated it; this is arguably the biggest misstep of the acclaimed auteur's career.

You can Stream All These Women on The Criterion Channel

1 The Serpent's Egg (1977)

20% rotten with 20 reviews.

Set in 1920s Weimar Germany, The Serpent's Egg centers around the struggles of an unemployed American circus performer, Abel Rosenberg (David Carradine). Navigating through the decay of post-WWI, Abel deals with the death of his brother, alcoholism, poverty, and a turbulent romance. The Serpent's Egg acts as an exploration of Jewish identity, the rise of Nazism, and the moral decay of Germany following the First World War.

An Arguable Misstep by One of Cinema's Greatest Directors

Rotten Tomatoes summarizes the critical response to Serpent's Egg as "just about the worst thing for a film like this to be: it is indulgent and mercilessly dull." This includes Roger Ebert, who thought the movie was a loud piece that says nothing of substance. Fans who are quick to acknowledge the movie's shortcomings still praise the work, noting Liv Ullman's performance and Bergman's unique approach to the thriller genre, which offers enough intrigue.

Much like All These Women , the movie made its way to the Criterion Collection simply because it was an Ingmar Bergman production. The distributor owns most of the director's works, and including The Serpent's Egg is an extension of Criterion shining a spotlight on Ingmar Berman, who many believe is the greatest director of all time . The director has ten 100% fresh scores to his credit, so The Serpent's Egg , with a low score, is far from indicative of Bergman's command of the medium.

• Criterion Collection