A lot has changed since we last met Indiana Jones (Harrison Ford). His marriage to Marion Ravenwood (Karen Allen) is a relic of the past, widely-loved son Mutt (Shia LeBoeuf) is no longer on the scene, and humanity celebrates its journey to the moon, just a few short years after aliens set foot on earth in the last Indiana Jones film. But anyone thinking Indy might have bought a new hat in the last 42 years would be seriously mistaken.

In the audio commentary for 2008’s Kingdom of the Crystal Skull, Steven Spielberg, referencing its star’s advanced years, comments that 65-year-old Ford probably still has another ten years of action films in him. In the film itself, belligerent Mutt asks Indy “what are you, like 80?”. Fifteen years later, aged 80, Ford is back, whip in hand, this time looking for a mysterious dial, apparently forged by Archimedes, which drove his friend (Toby Jones) crazy.

Dial of Destiny redresses some of the problems of Crystal Skull, avoiding an array of superfluous side characters in favour of a more focused triumvirate of Indy, goddaughter Helena (Phoebe Waller-Bridge) and a plucky kid sidekick (Ethann Isidore). It also does a better job than Crystal Skull of replacing the quasi-religious mumbo-jumbo of the first three films with quasi-sciency mumbo-jumbo, without resorting to the much-maligned aliens which are surely outside the professional remit of an archaeologist.

The action sequences are handled effectively, and, in no small part thanks to a full-throated John Williams score, it very much captures the mood and feel of the original films. But until the closing act it doesn’t give us anything we haven’t seen in a Jones film before, from a train rescue sequence to various chases involving unlikely vehicles. Yet Ford somehow manages to keep up and not look out-of-place, in an impressive feat of geriaction.

Ultimately, if you like maguffins of dubious importance and plots heavily reliant on coincidence in service of fast-paced action, this is more of that. What results is a solid if uninspiring entry into a franchise which really didn’t need five instalments.