For great family fun, you can’t beat “Indiana Jones and the Dial of Destiny,” concluding the globe-trotting adventures of the iconic archeologist, a fantastical franchise that began in 1981 with Steven Spielberg’s “Raiders of the Lost Ark.”

This final saga begins in 1944 Germany near the end of W.W. II, as intrepid Dr. Henry ‘Indiana’ Jones Jr. (Harrison Ford) tries to help his close friend/colleague Basil ‘Baz’ Shaw (Toby Jones) save Greek mathematician/inventor Archimedes’ fabled ‘Antikythera’ – a.k.a. Dial of Destiny – a clock-like devise enabling time travel – from a nasty Nazi (Mads Mikkelson).

Skip ahead to 1969 New York, where still surly ‘n’ spry Professor Jones is retiring from university teaching and living alone in a crummy apartment, his marriage to Marion (Karen Allen) having disintegrated after their soldier son was killed. 

That’s when Baz’s now-grown daughter Helena (Phoebe Waller-Bridge), who’s defiantly selling relics on the black market, again involves Indy in pursuit of this remarkable artifact, igniting a terrific chase with Indy on horseback, galloping into the subway in the middle of a street parade celebrating the Apollo moon landing amid Vietnam War protesters.

Written by Jez Butterworth, John Henry Butterworth, David Koepp and director James Mangold, it’s an edgy, exotic if erratic, action-adventure, coming to a surprisingly satisfying conclusion, nostalgically scored by John Williams.

So how did they digitally de-age Indy for the flashback? Harrison Ford explains, “That’s really my face. It’s not Photoshop magic. That’s what I looked like 35 years ago. LucasFilm has every frame of film we’ve made together over all these years; the scientific mining of this library was very skillfully put to good use.”

“This is the final film in the series and the last time I’ll play that character,” whip-cracking Ford notes. “And I anticipate that it will be the last time that he appears in a film.”

On the Granger Gauge of 1 to 10, “Indiana Jones and the Dial of Destiny” is an exciting, escapist 8, playing in theaters.

You know that Netflix is scraping the bottom of the barrel when Jennifer Lopez is cast as an intrepid assassin, trained by the U.S. military, in “The Mother.”

In the opening sequence, The (nameless) Mother (Lopez) is being interrogated as an informant in a ‘safe house’ by F.B.I. agents. Only it’s not safe – since nasty arms smugglers lurk outside, determined not to let her squeal. Not only do they shoot the government agents but they also try to kill the fetus in her womb.

Cut to the hospital where she’s just given birth to a baby girl. Convinced that her child is in grave danger, The Mother reluctantly gives her up for adoption.

12 years later, her daughter, now named Zoe (newcomer Lucy Paez), is once again in danger, so The Mother teams up with F.B.I. agent William Cruise (Omari Hardwick) to return Zoe to her adoptive parents, hoping she can lead a normal life.

In the meantime, The Mother takes Zoe to her isolated hideout cabin in the snowy wilderness of Tlingit Bay, Alaska, never revealing to the tween that they’re related. Of course, the youngster soon guesses the truth, as The Mother ominously trains her in a variety of tracking and shooting survival techniques.

Of course there’s a gratuitous glimpse of JLo’s famous rump as she’s dancing in Havana. That leads to the question about which of the baddies (Joseph Fiennes, Gael Garcia Bernal) actually fathered Zoe. 

Written by Misha Green, Andrea Berloff and Peter Craig and directed by New Zealand’s Niki Caro, who helmed the live-action “Mulan” remake and the Oscar-nominated “Whale Rider,” the utterly predictable script suffers from a total lack of character development.

Instead, it focuses on JLo’s hard-working stunt double who dominates the action, made even more obvious since – in close-ups throughout the chase sequences – JLo’s hair and makeup are always flawless, perhaps because her expressionless face looks perpetually frozen.

On the Granger Gauge, “The Mother” is an absurdly forgettable 4, streaming on Netflix.