Alex

As I have commented in other threads, it is absolutely fine. Having watched it four times, I have come to appreciate it more. I think the ending was the only true let down for me. I was entertained enough throughout. I really did like the chase through Tangiers. I would have replaced the underwater scene with something on land, and cut Boyd Holbrook out altogether.

It might have not been a perfect ending but it was definitely better than the ending of KOTCS which said absolutely nothing at all about the character and made no attempt to create any dramatic conflict whatsoever. DOD handled some things clumsily, true, but at least it was going for "something". Anything.
 
My only real issue with the film is that by existing, very much like SW sequels, it makes the happy "riding into sunset" ending of the previous movies sort of meaningless. Same reason why sequels to romantic comedies never work. Who wants disappointment and drama after satisfying ending? I know real life works like that but I don't necessarily need it in my fairy tale world.
 
Karol

I am not particularly convinced by Mangold’s word-salady response to the “Indy still wanted for murder” issue.

I personally think the Mouse and the producers got involved. It just seems incredible that the guy who wrote Logan could willingly choose that ending. Maybe the pressure got to him.

The extended Battle of Syracuse really is awesome. Say what you like about James Mangold, or Rian Johnson, Alfonso Cuáron, etc but it always seems to be these auteur-ish directors that bring something a bit new or different out of JW. I don’t think I have heard that kind of Spartacus-style writing from JW before (if anyone has, kindly point me in that direction). 

The extended Battle of Syracuse really is awesome. Say what you like about James Mangold, or Rian Johnson, Alfonso Cuáron, etc but it always seems to be these auteur-ish directors that bring something a bit new or different out of JW. I don’t think I have heard that kind of Spartacus-style writing from JW before (if anyone has, kindly point me in that direction). 

The extended Battle of Syracuse really is awesome. Say what you like about James Mangold, or Rian Johnson, Alfonso Cuáron, etc but it always seems to be these auteur-ish directors that bring something a bit new or different out of JW. I don’t think I have heard that kind of Spartacus-style writing from JW before (if anyone has, kindly point me in that direction). 

The extended Battle of Syracuse really is awesome. Say what you like about James Mangold, or Rian Johnson, Alfonso Cuáron, etc but it always seems to be these auteur-ish directors that bring something a bit new or different out of JW. I don’t think I have heard that kind of Spartacus-style writing from JW before (if anyone has, kindly point me in that direction). 

The extended Battle of Syracuse really is awesome. Say what you like about James Mangold, or Rian Johnson, Alfonso Cuáron, etc but it always seems to be these auteur-ish directors that bring something a bit new or different out of JW. I don’t think I have heard that kind of Spartacus-style writing from JW before (if anyone has, kindly point me in that direction). 

I have ended up seeing this film four times (not necessarily by choice), and I am satisfied that it’s absolutely fine. Harrison Ford is great and has plenty to do, PWB is no more annoying than Kate Capshaw in ToD and the de-aging is great in some cases (the inside of the train mainly) but is pretty jarring in others. Mads Mikkelsen, of course, is super as Classic Mads Mikkelsen Villain.
 
The only real problem I had was the end of the Syracuse battle was clearly either shot on the two different days, in front of a green screen or completely reshot, because Harrison Ford and PWB are either not outside or not together for a lot of that scene (when they’re talking to __________) and it’s obvious.

Disc 3 explains so much about the score. A fascinating listening.

The part from 1.00-1.30 sounds like something that JW could have written in the 70s/80s.

The part from 1.00-1.30 sounds like something that JW could have written in the 70s/80s.

I was always convinced that the tune of Childhood was based off a song where someone was singing something along the lines of Peeeeter... Peeeeeter. I am happy that has been cleared up now.

I was always convinced that the tune of Childhood was based off a song where someone was singing something along the lines of Peeeeter... Peeeeeter. I am happy that has been cleared up now.

I think we’re just used to hearing those themes with JP’s more powerful orchestrations.

As soon as they started reshoots:

Yeah, I was watching the film on Disney+ on Friday, and the music does sound really good in it. It’s not horribly chopped up, it’s nicely mixed, it’s spotted really well. It’s the little things like an orchestral hit as someone jumps onto roof of a Tuk Tuk and stabs a knife through it that gets my blood flowing.

Disc 3 explains so much about the score. A fascinating listening.

Disc 3 explains so much about the score. A fascinating listening.

Disc 3 explains so much about the score. A fascinating listening.

Disc 3 explains so much about the score. A fascinating listening.

Yeah, I was watching the film on Disney+ on Friday, and the music does sound really good in it. It’s not horribly chopped up, it’s nicely mixed, it’s spotted really well. It’s the little things like an orchestral hit as someone jumps onto roof of a Tuk Tuk and stabs a knife through it that gets my blood flowing.

Yeah, I was watching the film on Disney+ on Friday, and the music does sound really good in it. It’s not horribly chopped up, it’s nicely mixed, it’s spotted really well. It’s the little things like an orchestral hit as someone jumps onto roof of a Tuk Tuk and stabs a knife through it that gets my blood flowing.

Let’s just make sure that in 20 years time we’re still having a debate about who wrote what, like with COS.

Let’s just make sure that in 20 years time we’re still having a debate about who wrote what, like with COS.