Author: Amy Diaz

The pizza-loving turtles dream of a Ferris Bueller-like high school experience and hope heroics that go viral will help them get it in Teenage Mutant Ninja Turtles: Mutant Mayhem, a delightful animated movie.

Delightful movie and delightfully animated — Mutant Mayhem has a sketchbook visual style that can give us the individual scribbles coloring in a moon and can give the turtles the kind of heft that at times almost looks claylike. It’s a nice nod to the characters and their (Dover, N.H.!) comic book beginnings and it makes for a visual experience with a real stickers-on-a-boom-box, skateboard-art energy that fits with the urban setting of the story. And it’s nice that this elevated approach to animation is part of a very kid-friendly tale.

If you’ve seen any TMNT property before, you know the basics: Ooze from a lab made it into the sewers and turned 20-something rat Splinter (voice of Jackie Chan) and baby turtles Leonardo (voice of Nicolas Cantu), Donatello (voice of Micah Abbey), Michelangelo (voice of Shamon Brown Jr.) and Raphael (voice of Brady Noon) into mutants that eventually grow big, can talk and, when Splinter decides they need to learn to defend themselves, learn martial arts. Now teenagers, the turtles live with Splinter, their dad, in the sewer, where he says they must stay to be safe from humanity. But the turtles take lots of side trips on their shopping runs for toilet paper and Cool Ranch Doritos, gazing longingly at a movie-in-the-park screening of Ferris Bueller’s Day Off and wishing they too could go to high school.

When an errant, turtle-thrown ninja star hits the helmet of human teen April O’Neil (voice of Ayo Edebiri), the turtles find themselves going after her scooter, which was stolen while she was distracted with yelling at them. April finally gets a good look at the turtles and, after a bit of screaming, the gang chats over pepperoni pizza. The turtles are shocked that a human accepts them; April points out that she’s probably more inclined to see beyond their exterior weirdness because they helped her get her scooter back. Thus begins a plan: April is trying to track down the villain Superfly (voice of Ice Cube), whose series of crimes have led to a curfew and a canceling of her school’s prom. If the turtles help her take down this criminal and she records it, they will all become heroes and the turtles will find the danke schoen of their dreams — at least, this is the plan.

Turns out Superfly is a literal fly — a mutant housefly at the head of a gang of mutants (bat, frog, rhino, cockroach, Seth Rogen-voiced warthog, etc.) from the same lab that made the turtles’ ooze. This makes the turtles’ job to defeat the bad guys and go viral saving the day a lot more complicated than they’d planned.

Superfly and Splinter both have a deep distrust of humanity and a desire to keep their found families safe — this element adds just enough depth to the overall story to give older audience members something to hang on to (in addition to the previously mentioned truly delightful animation). But overall this movie feels very kid-accessible, in the best way. April O’Neil isn’t a polished newsperson — she’s a writer for her high school paper with a sole unfortunate stint on her school’s TV network that she’s trying to live down. She has her own insecurities and awkwardness but she can also execute a good “eye roll, teenage boys” when the turtles are getting a little too high on their own supposed crime-fighting awesomeness. And the turtles do have a very young teenagerness to them, all full of bravado, big if vague dreams, emotions they don’t quite have a handle on and general kid-like goofiness. Yes, their adventures do eventually take them to a superhero-standard “save the city” place but a lot of their goals involve basic acceptance — Michaelangelo’s desire to join the high school comedy improv club, for example.

Some of the mutant-on-mutant violence might be scary for some of the youngest kids — as might some of the human-on-mutant violence (there is a secondary team of villains who are humans and led by a character voiced by Maya Rudolph). But my mid-elementary-school-age-and-up kids seemed to get into this movie’s bouncy humor and action, lots of big laughs from them and plenty of laughs from the adults in the audience. Teenage Mutant Ninja Turtles: Mutant Mayhem has an overall enjoyable scrappy sensibility. B+

Rated PG for sequences of violence and action, language and impolite material, according to the MPA on filmratings.com. Directed by Jeff Rowe and Kyler Spears with a screenplay by Seth Rogen & Evan Goldberg & Jeff Rowe and Dan Hernandez & Benji Samit, Teenage Mutant Ninja Turtles: Mutant Mayhem is an hour and 39 minutes long and is distributed in theaters by Paramount Pictures.

Featured photo: Teenage Mutant Ninja Turtles: Mutant Mayhem.

LaKeith Stanfield, Rosario Dawson, Owen Wilson and Tiffany Haddish all board Haunted Mansion, a particularly strong ride-to-movie translation.

This is basically the ride — all wacky paintings and expanding rooms and floating candelabras — with the story serving as the car on a track that takes us from the murderous ghost bride to the head (Jamie Lee Curtis) in the crystal ball.

Doctor Gabbie (Dawson) and her son Travis (Chase W. Dillon) move to an old house outside of New Orleans to make a fresh start after some unspecified difficulty in New York. Sure, the house is a fixer-way-upper, but, Gabbie tries to reassure Travis as spooky things happen behind her, a vanilla-scented Yankee Candle and a little work and this mansion will feel like home. And then a spooky thing appears behind Travis and Gabbie says oh heck no, grabs him and runs out of the house.

When Father Kent (Wilson), an alleged priest with a real “surfside cabana bartender” vibe (i.e. an Owen Wilson vibe) seeks out New Orleans tour guide Ben (Stanfield), we pretty quickly figure out that just running out of the house did not solve Travis and Gabbie’s issues with ghosts. Before he was the depressed leader of a historic walking tour, Ben was an astrophysicist working on a camera that could capture “ghost particles,” which for the purposes of this movie pretty much just means “ghosts.” Kent offers Ben a nice payday to go to Gabbie’s house and photograph the spooky stuff floating through her would-be bed and breakfast. Ben thinks this whole endeavor is goofy — so goofy that he goes ahead with it, making “click” noises at the appropriate time, even though his camera is out of batteries — but he shows up and takes the money. And then he leaves and puts it all behind him.

So he thinks.

As Gabbie and Father Kent know and Ben quickly learns, the house’s ghosts are, as Gabbie describes, like bedbugs — once you step in the house they cling to you and you can’t get rid of them. Ben, having actually captured a photo of a ghost in his own living room, decides to take photographing them seriously. Eventually psychic medium Harriet (Haddish) and historian Bruce (Danny DeVito) also end up at the house, making for a Scooby Gang that decides to investigate the house’s history in an attempt to rid it of its most malevolent of spirits.

Along the way, there’s some stuff about grief, there are some indications that some ghosts are more well-intentioned than others and there are a fair amount of “ghosts do the darnedest things” visual gags that are more ghosty visual cleverness and/or jump scares than actual horrors. Which is probably why my 11-year-old was adequately entertained and not scared by the movie (though she wasn’t a fan of the more “feelings”-centered moments).

“Adequately entertaining” is probably the most accurate way to describe this movie overall. It is staffed with talented people (including writer Katie Dippold, who also did 2013’s buddy comedy The Heat and 2016’s “Ghostbusters but ladies” — which I enjoyed and which this feels a lot like, tonally). Stanfield brings way more to this movie than it probably deserves but he does help make this movie overall not a chore to watch. Haddish and DeVito sort of sprinkle on their individual brands of funny — the movie isn’t a laugh riot but no one element becomes so “Johnny Depp in later Pirates of the Caribbean movies” that it’s tiresome. It’s light, enough fun to complement the air conditioning that would be the main reason to see this in a theater and many-ages enough that you could entertain a tweens-and-up audience. B-

Rated PG-13 for some thematic elements and scary action, according to the MPA on filmratings.com. Directed by Justin Simien with a screenplay by Katie Dippold, Haunted Mansion is two hours and two minutes long and distributed in theaters by Walt Disney Studios Motion Pictures.

Featured photo: Haunted Mansion.

The blond, permanently tip-toed Stereotypical Barbie visits the decidedly un-pink human Real World of Los Angeles in Barbie, another win for director and co-writer Greta Gerwig.

In Barbieland, pink — particularly that very specific Barbie hot-pink — abounds, with a pink wardrobe ready for Barbie (Margot Robbie) in her Dream House closet at the start of every day, perfect to wear while driving around in her pink car, waving to her other friends named Barbie, a bunch of Kens and the occasional one-off, like Ken’s skittish friend Allan (Michael Cera) or the discontinued pregnant Midge (Emerald Fennell). Except for our heroine, the Barbies of Barbieland have empowering jobs — President Barbie (Issa Rae), Scientist Barbie (Emma Mackey), Writer Barbie (Alexandra Shipp), Lawyer Barbie (Sharon Rooney), a whole slate of Barbie Supreme Court justices, a mermaid (Dua Lipa) — which, as the narrator (Helen Mirren, who is just chef’s kiss with every line delivery) informs us has helped the girls and women of the Real World reach their full feminist potential and solved all the problems of sexism forever. The Kens of Barbieland are all just sorta Ken — Ken’s job is “Beach” and there seem to be opposing Ken cliques, of which Ken (Ryan Gosling), who is in love with Barbie (Robbie), and Ken (Simu Liu), seem to be the leaders. Gosling’s Ken is particularly desperate for Barbie’s affection and notice. Whereas Barbie finds Ken to be a kind of unnecessary accessory.

All the Barbie empowerment doesn’t apparently come with a lot of introspection, because when Barbie suddenly has thoughts of death, she doesn’t know what to do with them. The thoughts of death seem to quickly metastasize into other problems, like morning breath, cellulite and, most horrifying of all, flat feet. Barbie goes to see Weird Barbie (Kate McKinnon), a Barbie permanently in the splits with a “kid just learning to use scissors” hair cut, to get advice on what to do. Weird Barbie tells Barbie that the answer is to find the girl who is playing with her and whose sadness must be leaking to Barbie’s subconscious. With the help of this girl and Mattel, Barbie will be able to fix the ruptured membrane between Real World and Barbieland. To accomplish this, Barbie will have to go to the Real World, a trip that involves several wardrobe and Barbie vehicle changes. Because he doesn’t seem sure he can exist without her, Ken tags along.

Most of this plot is revealed in the trailer and it’s fun to go in not knowing a whole lot more. I’ll give these extra notes: In the Real World, Barbie meets Gloria (America Ferrera) and her sullen middle-school-ish daughter Sasha (Ariana Greenblatt) and Ken discovers the Patriarchy, which may or may not have something to do with horses and Sylvester Stallone in fur coats.

I came into this movie a hardcore Greta Gerwig fan; I think her Lady Bird and Little Women are basically perfect movies. But I’d argue as much as this predisposed me to like this movie, I was also worried that this wouldn’t be up to that Gerwig standard.

Well, it is and I loved it — loved it so much I seriously considered watching it again immediately. Loved it so much I looked up the price of the official Gloria doll (it’s $50, which would be worth it if I could figure out how to send it back in time to my 9-year-old self). Loved it in a way that is both un-ironic and deeply appreciative of how wall-to-wall weird this movie is. Barbie is deliciously weird, even in its genuine emotional moments, right up until its very last second. And I loved, like those other Gerwig movies, that this movie tells a story of a mother-daughter relationship, this time going surprisingly deep in a short amount of screentime on the mother’s perspective.

If I can start making some Oscar picks now: Of course I choose Gerwig to get a director nod and a screenplay nod along with her partner (in this screenplay and in life) Noah Baumbach. I also put forth Ferrera, for a good all-around performance plus maybe two scenes that had me worrying I was about to cry in a packed movie theater. (I also did a fair amount of big out-loud guffaw laughing.)

And for Best Actor let me suggest Gosling, who is just absolutely going for it with his needy, addled, emotional Ken. He is so thoroughly game for anything in this role and absolutely appears to be having a ball.

Robbie by comparison can at times seem flatter than her supporting characters — but I think this is intentional and it ultimately pays off with what the movie is trying to do with her character. She’s able to bring genuine emotion and humanity to her character while still having a doll-like rigidity (both physically and in her thinking), at least for a while.

In smaller roles, Mirren is note perfect, Rhea Perlman has a great part that is surprisingly touching and Will Ferrell as the head of Mattel takes his The Lego Movie character Lord Business and pushes it to an even weirder place.

The movie also looks amazing, both in its set design and in the way the characters move through Barbie Land. Similar to how the Lego movies use the visuals of the Lego toys, their movements and their accessories to give layers to the jokes and the way the world is built, this movie uses Barbie’s physicality, the elements of her dream houses and fashions and fun little notes about how kids play Barbies both for humor and to build its characters. It’s fun but also smart and it makes you appreciate the work that went in to this movie while still making it look seamless. A+

Rated PG-13 for suggestive references and brief language, according to the MPA at filmratings.com. Directed by Greta Gerwig with a screenplay by Greta Gerwig and Noah Baumbach, Barbie is an hour and 54 minutes long and distributed in theaters by Warner Bros.

Oppenheimer (R)

Cillian Murphy is the titular physicist who becomes the “father of the atomic bomb” in Oppenheimer, a three-hour biopic and meditation on nuclear weapons from Christopher Nolan.

The movie loops around, primarily in three time frames: J. Robert Oppenheimer (Murphy) as he builds his career as a noted physicist, pushing the field into new realms of theoretical physics, and becomes the head of the U.S. efforts to build an atomic bomb; Oppenheimer in the early 1950s facing a hearing to keep his Atomic Energy Commission security clearance, and Lewis Strauss (Robert Downey Jr.), a professional opponent of Oppenheimer’s in the post-war years, facing his own U.S. Senate confirmation hearing.

In the security hearing, Oppenheimer faces criticisms for some of his pre-war connections to communist party groups, including his affair with Jean Tatlock (Florence Pugh), a party member he dated before and during his marriage to Kitty (Emily Blunt), who was herself married to someone else when their relationship started. In those 1930s scenes, we also see Oppenheimer and other scientists follow the news about German scientists and their experiments with nuclear fission. When the U.S. enters World War II and decides to build its own atomic weapons program, Lt. General Leslie Groves (Matt Damon) charges Oppenheimer with running the overall program and setting up the Los Alamos, New Mexico, middle-of-nowhere lab/makeshift town where all of the country’s efforts to build the weapon will converge and where, out in the desert, the weapon can eventually be tested. Scientists will need to be in New Mexico for the duration, and the existence of a town allows them to bring their children and wives, many of whom also have scientific backgrounds.

For all that the scientists are sort of dazzled by the puzzle of building an atomic bomb, it’s really the “we have to make one before the Nazis do” motivation that gets many of the scientists past their unease with the weapons. Oppenheimer is driven by both the science and the Nazi-beating but beyond that his feelings about the weapons he’s building seem more complicated.

In the Strauss hearing scenes, we see how Strauss’ attempts to torpedo Oppenheimer’s influence in the scientific community and the U.S. nuclear weapons program (where Oppenheimer seems to want to go slower than the ever-one-upping of the arms race) after the war lead to his own political problems. Downey gives a solid performance here but I’m not entirely sure why this layer was added. In addition to a needless padding of the runtime, it adds an element of earnestness and naiveté about politics that feels sorta goofy in this movie that already has a fair amount of “oh no, is our horrible invention going to be horrible for humanity?” silliness. On the one hand, the movie paints a fairly complex picture of a time (the 1930s) when pro-labor efforts, the fight against fascism in Spain, domestic social issues and the American communist party slosh around together, and when women play this sort of one-step-forward three-steps-back role, with highly educated women chafing against the homemaker role marriage seems to shove them in. And we see bits of scientists wrestling with the idea that developing the atomic bomb is an existential necessity (especially the scientists who are refugees of Nazi aggression) but also an existential threat.

But then we get elements that feel more black-and-white (sometimes literally going to black-and-white footage) and take us to, like, West Wing: Mid-Century and seem to suggest that these people who have been through a depression, international political upheaval, war and into the McCarthy era are unaware that cynicism, pettiness or moral compromise exist in politics.

All that said, Murphy gives a wonderfully agonized performance as an Oppenheimer who is self-aware and yet also self-deluding. He does a good job of showing us a man who is permanently shaken by what he’s done.

And the movie looks great — the explosions it makes so much of in the trailers are actually not as impressive as the vastness of the New Mexico desert and the way it shows us Los Alamos popping up from nothing. That part of the story — the pre-war scientific and political landscape through the Trinity test — is really well-drawn, with lots of texture and details you want to dig in to (like the women who get a chance to work in Los Alamos because they already have security clearances via their husbands, or the small professional world of the pre-war physicist community and their various alignments to the U.S./U.K., the Nazis or the Soviets).

Oppenheimer could have benefited from a cleaner, more streamlined approach to its story but it is nevertheless packed with good performances and standout bits of story. B+

Rated R for some sexuality, nudity and language, according to the MPA on filmratings.com. Directed by Christopher Nolan with a screenplay by Christopher Nolan (based on the book American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer by Kai Bird and Martin J. Sherwin), Oppenheimer is three hours long and is distributed in theaters by Universal Studios.

Featured photo: Barbie.

Four 20-somethings road trip through China in the soft-hearted comedy Joy Ride.

Attorney Audrey (Ashley Park) and artist Lolo (Sherry Cola) have been best friends ever since Audrey’s adoptive parents (Annie Mumolo, David Denman) excitedly approached Lolo’s parents (Debbie Fan, Kenneth Liu) to ask if the girls — the only two Asian girls in their hometown of White Hills — could play together. Thus began a best friendship that lasted through elementary and high school and well after college.

Audrey is up for a big promotion at work, one that hinges on her closing a deal with a Chinese company. She speaks conversational Mandarin, she tells her boss (Timothy Simons) — but really this woman raised by American parents doesn’t speak Chinese. Though Lolo’s genitalia-based art isn’t the image Audrey wants to project professionally, she asks Lolo, a truly fluent Chinese speaker, to join her when she travels to China to act as a translator for Audrey’s meetings. Lolo’s cousin Deadeye (Sabrina Wu), an awkward K-pop megafan, unexpectedly tags along. In China, Kat (Stephanie Hsu), Audrey’s college roommate who has become a big star of Chinese TV, also joins the group.

The foursome spends a night drinking with Chao (Ronny Chieng), the man Audrey is trying to close a deal with. He wants to know more about Audrey and her ties to China. Lolo lies and says Audrey is close with her Chinese birth mom. This leads the gang on a frantic quest to find Audrey’s birth mother, which sends them to a more rural region of China and through a series of unexpected detours due in part to an American drug dealer and a Chinese basketball team stacked with hotties.

For a movie with some impressively explicit sex scenes, Joy Ride is cute and huggable in its whole friendship vibe. Lolo and Kat have a frenemy relationship as dueling best friends of Audrey, who is wound tight and feels that she doesn’t fit in anywhere (not white like “everybody else” in their American home town but not connected to her Chinese heritage like Lolo and Kat). Deadeye is eager to find friendships IRL, having previously only made good buddies via K-pop fan sites. The various discomforts of the group seem like the discomfort of their relative youth, trying to figure out who they each are and what they want. It’s all ultimately very sweet, and while I did at times feel like some of the jokes could use another pass to make their comedy and their observations sharper, I enjoyed spending time with these characters. Park may be the central character but the excellent Hsu and Cola are the standouts.

Joy Ride isn’t perfect but it is a light and fun bit of friendship, road trip comedy. B

Rated R for strong and crude (and unapologetic! and totally giddy!) sexual content, language throughout, drug content and brief graphic nudity, according to the MPA on filmratings.com (where you can see a crude-but-cute alternate title for this movie). Directed by Adele Lim with a screenplay by Cherry Chevapravatdumrong and Teresa Hsiao, Joy Ride is an hour and 37 minutes long and is distributed in theaters by Lionsgate.

Insidious: The Red Door

(PG-13)

The Lambert family returns in Insidious: The Red Door, the fifth Insidious movie, which picks up on events of the second movie.

The third and fourth movies were both prequels — a fact remembered thanks to Wikipedia because even though I’ve seen and liked all of these movies I forgot basically everything about them other than Rose Byrne and Patrick Wilson. Quick recap: Father and son Lambert both have the ability to astral project into a demon-y realm called The Further, and sometimes demon-y beings try to follow them back.

It’s been a decade since the second movie and the Lambert family isn’t doing great. We first see Josh Lambert (Wilson) at the funeral for his mother. Renai Lambert (Byrne) and the kids — Dalton (Ty Simpkins), Foster (Andrew Astor) and Kali (Juliana Davies) — are with him but leave in a separate car because Renai and Josh have split up. Josh has a difficult relationship with the moody Dalton, who is headed to college. Renai suggests that Josh drive Dalton to school so they can spend time together.

What we know from the movie’s start that the oldest two Lambert dudes don’t is that Josh and Dalton have been hypnotized to forget the previous Insidious movies. So everything about The Further, their journeys to this place and the demons that plagued them there and followed them into the world has been sort of erased. Sort of. They’ve been left with enough shadows of what happened to feel uneasy and foggy.

Once at school, an art teacher’s assignments have Dalton starting to draw and remember the Further. Dalton makes friends with Chris (Sinclair Daniel), a girl mistakenly assigned to room with him for just long enough that she gets dragged into his whole spooky deal. Meanwhile Josh also has flashes of the Further and its denizens. The more father and son remember, the more the demon-y world starts to bleed into our own.

It takes about two-thirds of the movie for the characters to catch up to where we are at the movie’s start. Wilson is engaging as always and there’s some cute stuff between Dalton and Chris as they investigate Dalton’s growing strangeness, but the movie just takes way too long to ramp up. And then it feels a bit like we race to the finish. I wish the movie could have found some way to better balance that mix of when the characters aren’t and then are up to speed, and bring the whole family, including Byrne, who brings such a good exasperated energy, back together faster. C

Rated PG-13 for violence, terror, frightening images, strong language and suggestive references, according to the MPA on filmratings.com. Directed by Patrick Wilson with a screenplay by Scott Teems, Insidious: The Red Door is an hour and 47 minutes long and is distributed in theaters by Screen Gems.

Featured photo: Joy Ride

Harrison Ford breaks out the hat and the whip to take another whirl as the titular archaeologist in Indiana Jones and the Dial of Destiny.

It’s 1969 and Professor Henry “Indiana” Jones (Ford) is a full-blown “hey kids, turn that music down!” grump who is retiring from his job of teaching antiquities to bored young boomers at a New York City college. He lives in a city apartment alone — he and Marion have split up and the movie also sidelined their Shia LeBeouf son, basically undoing most of the 2008 Indiana Jones and the Kingdom of the Crystal Skull stuff. On the day of his retirement, Helena (Phoebe Waller-Bridge) appears in his class. He doesn’t recognize her at first but she later reminds him that she is the daughter of his old friend Basil Shaw (Toby Jones) — and Indy’s long-estranged goddaughter.

In the movie’s opening scenes, we see Basil and Indy attempt to steal back some stolen antiquities from the Nazis in the waning days of World War II. Jürgen Voller (Mads Mikkelsen) isn’t interested in the “lance that pierced Christ’s side,” the principal historical item the Nazis have been charged with finding. What he wants is Archimedes’ dial, an advanced mechanism designed by the Greek mathematician from the 200s BC. As we eventually learn, Voller and Shaw both theorize that the dial may have some time manipulation abilities.

Back in the present, Shaw the father has died and Helena is in search of the dial for the archaeology of it all, she tells Indy, but later we learn she’s actually a shady dealer in stolen antiquities.

Voller and a team that is a mix of his own goons and CIA agents are following Helena as he also looks for the dial. The U.S. government is essentially indulging Voller in this dial thing; he’s now a Wernher von Braun type for NASA ― help us get to the moon and we won’t be so picky about any activities during the war.

When Helena asks Indiana to help her with her desire to retrieve the dial, he turns her down, but a shootout and chase has him wanted for murder and worried about the trouble Helena has gotten herself into. As Helena begins her quest to sell the dial, Indiana follows her to Morocco, setting up some familiar chases through Middle Eastern streets, where Helena is being hunted both by a local mobster and by the Nazis. She gets help in her schemes from young teenager Teddy (Ethann Isidore), Helena’s, like, conman intern.

My vague memory is that I liked Kingdom of the Crystal Skull better than a lot of people did. It was the kind of “hey, childhood stuff, fun!” we were just starting to get served up and I think the novelty of it plus the “OK time at the movies for the whole family” quality won me over.

I think Indiana Jones and the Dial of Destiny is probably a better movie but now, after so much everything-old-is-new-again IP, less exciting. And yet, if Crystal Skull was the Star Wars prequels, Dial of Destiny is The Force Awakens. It doesn’t give you a brand new thing in the familiar universe; it basically gives you the original thing again, all the stuff you like and expect, right down the middle, no deviations, but with enough real skill to pull it off. We get Indy, a lady and a kid; multiple chases through exotic locales; the Nazis — Dial of Destiny plays all the hits. We get some fun cameos, some nice callbacks and scenes of Indy and Helena walking into an ancient cave that have a vaguely amusement park ride entrance feel. It’s all perfectly fine, very “Indiana Jones movie.” It also reminded me of that odd spot these franchises — your Indiana Jones and Star Wars — are in in that they are basically adventure movies for all ages (or, you know, a lot of ages; there are Nazis and guns and skeletons), not quite kids’ movies but also not not kids movies. You get the sense that the movie worked to add just enough violence to make it to PG-13 so that grown-ups unaccompanied by kids would still buy tickets.

Harrison Ford is also fine — perhaps he, like the movie itself, is not crackling with energy the way the first set of movies did way back in the 1980s. (I mean, most of us who can remember the 1980s probably aren’t crackling with energy either.) But he gets the job done and reminds you of why you like the character.

Indiana Jones and the Dial of Destiny doesn’t dim the luster of the series and is fun enough, even if it is longer and at times adds some unnecessary “hat on a hat” elements to its action. B

Rated PG-13 for sequences of violence and action, language and smoking, according to the MPA on filmratings.com. Directed by James Mangold and written by Jez Butterworth & John-Henry Butterworth and David Koepp and James Mangold, Indiana Jones and the Dial of Destiny is distributed in theaters by Walt Disney Studio Motion Pictures and is two hours and 34 minutes long.

Featured photo: Indiana Jones and the Dial of Destiny