Indiana Jones and the Dial of Destiny – 4K Review
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Disney/Buena Vista | 2023
PG13 | 2hrs 34mins | Action | Adventure
HD | 1080P | DTS-HD Master Audio 7.1
Native 4K | 2160P | HDR10 | Dolby Atmos | Dolby TrueHD 7.1
Aspect Ratio: 2.39:1
Staring: Harrison Ford | Phoebe Waller-Bridge | Antonio Banderas | Karen Allen | John Rhys-Davies | Shaunette Renée Wilson
Directed by: James Mangold
Ratings & Reviews
Please see here for my comments on reviewing movies.
My ratings are simple being marked out of a maximum of 5+. My reviews are biased towards the technical production aspects of the film with brief comments about the story line. Extras, sorry, that’s just not my ‘bag’.
So what did the 4K HDR10 video look like? Just reference, and the Dolby 7.1 soundtrack? Also just reference.
Entertainment: 5
Video: 5
Audio: 5
Technical Review – Native 4K UHD HDR10
Indiana Jones and the Dial Of Destiny was captured digitally by cinematographer Phedon Papamichael in the ARRIRAW 4.5K codec using Arri Alexa LF and Mini LF cameras with Panavision C- and T-Series lenses.
The image whips its way onto your screen as a reference HDR10 presentation. With the film shot in a high resolution format, this 4K release has excellent overall image clarity with a terrific display of crisp, sharp detail with refined texturing throughout. Objects, clothing, threads and facial close-ups provide excellent detail and definition. From the finer aspects of the vehicles, the small pockmarks and cracks in the roads and sidewalks, and the little fuzzy fabric and stitching of the costumes, to facial pores, stubble, wrinkles, eyelashes, hair strands and features, all are accurately rendered without any undue exaggerations. CGI and special effects integration are good including the “de-aging” of Indie, blending well with the real action shots, and just like wide shots never looking soft. Effects like fiery explosions, flying objects, debris and smoke are well integrated into the live action with no distractions.
Contrast balance was good throughout. From the brilliant uncompressed whites of several daylight exterior shots and specular highlights to the deep inky blacks of caves and various room interiors that showed good low level and shadow detail. Peak whites and specular highlights from the radiant glimmer and sheen along the metallic surfaces of the planes, trains and automobiles, to the many light sources, various CGI metallic objects, water surfaces and explosions all sparkle with a degree of realism. All creating a good dynamic contrast range and depth of image, enhancing visibility of objects in both exterior and interior shots.
Color fidelity is good throughout with well saturated primaries and secondary’s, all having good color depth and density. The color palette is warm and natural, with well-saturated and accurate hues and plenty of warm earthy tones throughout. The movie is an array of vivid golden yellows, fiery oranges, dramatically animated reds and a wide variety of full-bodied browns, including the reds of the Nazi swastikas to the more crimson tones of some of the ancient uniforms seen in the historically set climax. With human skin tones and facial complexions looking very natural throughout.
This video is very good on all fronts, creating an HDR10 reference image.
Audio – Dolby TrueHD 7.1
Indiana Jones and the Dial Of Destiny features a Dolby Atmos soundtrack that defaults to Dolby TrueHD 7.1 in my system. Once again Disney cannot get its audio levels correct. The track lacks volume at calibrated reference levels and requires an upward volume adjustment of at least 4dB, to fully enjoy. Once there, the track’s dynamics, impact, details and bass emerge. The soundtrack displays good surround action, good channel separation and a solid bottom end. The rear channels being used extensively to convey the atmospheres of various rooms, caves and outdoor environments, supporting directional and atmospheric cues alike.
The overall sound presentation is moderately dynamic, with sufficient sub involvement and good surround action. The soundstage is quite wide and surrounds are often active with ambience, directional cues and movement, delivering an active environment that drops the listener into both the quieter and action-packed environments alike. From the opening train top skirmish to the horseback sequence in New York or the tuk tuk sequence in Tangier, effects placement are accurate and natural, with plenty of movement in both the rear and side surrounds. From those quieter, dialogue-heavy sequences steeped in surrounding activity inside the moving Nazi train and the apartment meetings to falling debris, the crowd-filled streets of NYC, the depths of the Aegean, the cavernous interior of the Ear of Dionysius and cave echoes and impactful flaming spears, all fill the surrounds keeping you engaged in the mix.
Sub action is quite good during the action sequences with levels turned up. Supporting every crack of Indy’s whip and every punch he throws, to the exploding bomb and impact of the galloping hoofs and flaming spears. Imaging is generally broad and expansive following the action as it moves on and off-screen. Dialogue is always clear and well detailed with solid front-center imaging and prioritization, providing good clarity and detail even during the more intense active scenes.
Flushing out the soundscape and supporting the movie throughout its entire length, the films score, composed by John Williams offers a good supportive mix. Levels hit a good balance between the dialogue and effects providing a light spill into the surrounds and good integration within the soundstage.
The audio track just makes reference complimenting the reference video.
Story Overview
The film opens in France in 1944 when Indiana Jones (Harrison Ford) and his colleague and friend, the Oxford archeologist Basil Shaw (Toby Jones), are attempting to retrieve the mythical Lance of Longinus from a castle in the Alps, when they’re captured by Nazi forces, who are scouring Europe for mythical objects desired by Adolf Hitler. Ultimately the Lance is discovered to be a fake, but a far more powerful artifact is discovered, half of the Archimedes’ Dial, a so-called Antikythera mechanism that has the ability to predict future events.
Moving forward 25 years to 1969, Indy retires from his position at Hunter College in New York City on the same day the Apollo 11 astronauts arrive in town for their ticker-tape parade. Together with the arrival of the astronauts, Shaw’s adult daughter Helena (Phoebe Waller-Bridge), the German scientist Jürgen Voller (Mads Mikkelsen), from the 1944 meeting, and various CIA operatives and henchman arrive, all in search of the two halves of the mysterious Archimedes’ Dial.
Indie reveals the whereabouts of one half of the dial to Helena, and after a confrontation with Jürgen’s team she escapes and takes it to sell on the black market in Tangiers. With all players searching for either the second half or the complete Dial, Indy realizes that Helena’s life is in danger and with the help of his old friend Sallah (John Rhys-Davies) sets off to warn her.
Arriving in Tangiers things go from bad to worse as Indie and Helena realize that the complete dial can be used for terrible things. So starts the race to find the dials second half and make sure that the ancient and powerful artifact doesn’t fall into the wrong hands.
My 2 cents
No, Dial of Destiny is not a perfect film but it is a lot of fun, bringing Harrison Ford back for one last adventure. The film takes this old, crotchety and crusty man, slips him back into his old leather jacket and fedora, and manages to replicate the swashbuckling feel of the first three movies, all supported by reference video and audio.
If this was Indy’s last crack of the whip, it was a satisfying farewell to a dearly beloved character, and the ending leaves us fans with a heartfelt reunion that brings the entire franchise to a satisfying close…. Or is it?
Highly recommended.
Purchase from Amazon here.
