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Rating: PG-13 (Some disturbing images | Sequences of strong violence | Suggestive material)
Genre: adventure, science fiction
Original language: English
Director: Denis Villeneuve
Producer: Denis Villeneuve, Mary Parent, Cale Boyter, Joseph Caracciolo Jr.
Author: Jon Spaihts, Denis Villeneuve, Eric Roth
Release Date (cinemas): October 22, 2021 Wide
Release date (streaming): October 22, 2021
Duration: 2h 35m
Distribution: Warner Bros. Pictures
Company: Warner Bros., Villeneuve Films, Legendary Pictures
Sound mix: SDDS, Dolby Atmos, Dolby Digital
Aspect ratio: area (2.35: 1)
The important things first. Yes, the sandworms are great. Gigantic, voracious tubes with thousands of scimitar teeth that curve inward to form something like a giant eyeball, they’re a bit like what would happen if the Canal Tunnel had a baby with a Sarlacc.
Those underground nightmares lurking beneath the surface of the vast desert planet Arakkis are just one element of this large, well-designed blockbuster that seriously exceeds expectations. Dune director Denis Villeneuve (Blade Runner 2049), an epic science fiction full of premonitions, must have had some of his own when he set out to bring Frank Herbert’s thematically dense series of books to the screen: mostly with sobs in his coffee on Set at the sheer enormity of cramming it all into one movie.
But the Canadian filmmaker has made it where David Lynch, Alejandro Jodorowksy and Ridley Scott stalled in different ways. Its dune is expansive, spectacular, and politically resonant in its criticism of colonialism and exploitation. Okay, technically it has no end — it’s “Part 1” of a series that may not get Part 2 — and not everyone will get the patience Villeneuve requires of their audience, but those who do will being rewarded with precise storytelling, visual fireworks and some world building on a god level.
Most of Dune unfolds on Arrakis. It is a strict and inhospitable place from which the cruel overlords of House Harkonnen extract spices — a valuable commodity used for space travel — and fight against the indigenous Fremanen who use it for spiritual enlightenment. The uprising comes to an abrupt end when the Emperor trades the Harkonnen for the more enlightened House of Atreides.
Of course, as any Dune-Stan will tell you, this is just a trap to eradicate the fancy Dan Atreides entirely. At the center of these Shakespeare machinations is Timothée Chalamet’s gifted, introspective Paul Atreides. He is a Prince Hal-like character who may just be the messiah-like chosen one the universe has been waiting for. He inherited political power from his father (Oscar Isaac) and magic from his mother (Rebecca Ferguson). He can use his voice as a mind control tool and has surprising martial arts for such a disheveled person.
The crux of the matter is that he’s young and gauche — the voice is still a bit of a hit-and-miss — and the clock is ticking. The evil Harkonnen is about to face a galactic double cross that Paul leaves behind on a hero’s journey through the remote, deadly wasteland of Arrakis. There are omens with knives, battles and a mysterious freman (Zendaya). Oh, and a Jedi-like religious cadre named Bene Gesserit who shortens it with a script by Villeneuve, Eric Roth, and Jon Spaihts that mostly makes wise decisions about what to include and what to leave out of Herbert’s source material.
If you’ve read the books you will know what all these premonitions mean; if not, no problem. Hold on for the giant worms.
And stick to some expertly handled action sequences there, too. Unlike many hideously cut modern blockbusters, Villeneuve lets him breathe with a measured cut and VFX that blend into the huge sets and desert scenes (Dune was partly filmed in Jordan’s famous Wadi Rum). The insect-like technology is also cool — spaceships flutter like dragonflies and drones float like bees — and a Hans Zimmer score that lies halfway between Maurice Jarre’s work on Lawrence of Arabia and György Ligeti’s 2001: A Space Odyssey.
Chalamet is rock solid like this Luke Spicewalker figure, but everyone can be seen here — there’s no sting that stinks the place. A selection of the supporting cast is Stellan Skarsgård, who channels Marlon Brando in Apocalypse Now as the bloated head of the Harkonnen, the Baron. He is a power-hungry schemer whose litany includes monstrous qualities like floating through the air like an evil child’s balloon. Like much in Dune, it is shrouded in gloom and hardly a riot of laughter, but it is not lacking in substance. It’s just one reason to hope for Part 2.
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If you haven’t read Frank Herbert’s Dune books and think that you are not Denis Villeneuves Dune’s target audience, this is the review for you. I don’t like epic stories, I’m not crazy about hard science fiction / medieval stuff / fantasy, and I’ve dodged my friends’ constant appeals to read the books for years. But here’s the thing … I really dug up this damn movie. I don’t know if it was the IMAX presentation, the clever simplification of Herbert’s complex world, or the half edible I had before I went in, but I enjoyed this $ 165 million sci-fi spectacle.
You’ve probably heard that Dune is actually Dune: Part One. That was an instant disappointment for me personally, but it’s pretty obvious from the first ten minutes of the movie that trying to cram this entire saga into one movie would be a nightmare (see: David Lynch’s Dune). On the plus side, Dune is also a perfect candidate for the miniseries / multi-season approach.
So what is Dune about? It is perhaps easiest to think of as a cross between Star Wars and Game of Thrones. It’s very political and builds up like a game of chess, but it also has huge man-eating sandworms, Stellan Skarsgård (The Girl With The Dragon Tattoo) floating in a thick suit, and Jason Momoa (The Bad Batch) as an absolute badass. TLDR; There is an inhospitable planet where future civilizations will harvest an expensive spice that is used for interstellar space travel. Everyone is ready to kill to take control of this planet, but it is also inhabited by a group of nomadic desert dwellers who use the spice for its hallucinogenic properties (like peyote or magic mushrooms). These natives also believe in a “chosen one” who will one day deliver them from their oppressors and (surprise, surprise) the son of their new leader may be the savior they have been waiting for.
I’m sure a lot of it looks familiar. One could even argue that, like any other multi-million dollar blockbuster, it is a copy of The Hero’s Journey. It’s more likely that Frank Herbert’s novels have influenced large-scale storytelling for the past several decades, but who cares which came first. This is a story structure that you are already familiar with. Swap the words “Jedi Council” for “Bene Gesserit” and “House Lannister” for “House Harkennon” and you are almost there.
So why should you see Dune? More specifically, why see Dune if you’re the type of person who doesn’t think it’ll be their cup of tea? Well, for one, it’s surprisingly easy to follow. Hearing my friends get lost in the details of Dune’s philosophies has always been a challenge for me (and if there’s one thing I hate about hard sci-fi and fantasy it’s learning a whole host of new words to have to) but I promise you will win. Don’t get lost in fabricated rubbish for the sake of fabricated rubbish. Call me stupid as often as you like, but I don’t think you should get a glossary to study before you see a movie. I think you should be able to sit down with no prior knowledge and enjoy it just as much as someone who delved into the original books.
IMAX really is the format you’d want to see this movie in if you’re not a die-hard dune. There are a couple of aspect ratio changes that are a little jarring, but it really helps sell the appeal of this world. It’s huge, it’s sprawling, and it has a hell of a soundscape, not to mention a booming score from Mr. Boom Score himself, Hans Zimmer. You really want the best sound system that you can have your ears in front of to really hear it all. It’s like listening to a symphony orchestra. They sound great on Bose speakers, but they sound unreal live and in person.
Greg Fraiser’s cinematography is beautiful, but visually its most impressive quality is the seamless mix of practical and digital elements. There’s really no telling where the handcrafted landing gear ends and the Manhattan-sized spaceship begins. It’s the kind of film that’s likely to win the more technical awards at the Oscars, including the costumes, because it’s a historical piece through and through. The time period happens to be AD 10, 191.
Rest assured that Dune (the movie) is not the impenetrable fortress you always thought Dune (the book) was.
My appreciation for Dune contradicts every algorithm known to mankind. On paper, this isn’t a movie for me. Hard science fiction with interstellar political sabotage? Happen. Secret societies with superpowers and a youthful figure of Christ? That’ll be a no for me, buddy. But I’ll be damned if I didn’t watch every 2 hours and 40 minutes.
On the surface, it’s a space opera about fate, but embedded in this familiar setting is a philosophical discussion about the dangers of savior figures. At least that’s what it’s hard to sell in the second half. Dune has long been considered a non-filmable novel, but here we are. And having never read a word of this novel, I have no doubts that these two films are the only adaptation of Frank Herbert’s acclaimed classic that we will ever need.
Denis Villeneuves Dune made its North American premiere at the Toronto International Film Festival 2021. Click HERE to follow all of our festival coverage and let us know if you’d like to see Dune on Twitter in the official Nightmare on Film (and argue why I finally did should read those damn books) Street Subreddit and on Facebook at the Horror Movie Fiend Club!
Start small on Day 3 with Jockey, an indie that premiered at Sundance. It is from the author of “Transpecos,” in which Clifton Collins Jr.
This time around, Clint Bentley is typing and making his feature film debut as a director. Collins is the reason to see the movie; his portrayal as an aged horse jockey is captivating, but the film as a whole drags on despite its 93-minute running time.
Bentley, inspired by his own father’s career as a jockey and raised on the racetrack, mixed actors and non-actors in the film. In one scene with a real-life former jockey sitting around with Collins’ character Jackson Silva, it almost slips into a documentary as they describe injuries and recoveries like an AA meeting. It’s Collins’ show where he embodies the physical and mental stresses years of training have put on his failing body.
Supporting actor Moises Arias (“Pitch Perfect 3”) is quite good along with Molly Parker (“Pieces of a Woman”). It’s the father-son theme that appears in several films this year that gives “Jockey” more depth.
The simple film from Sony Pictures Classics will hit limited theaters on Wednesday, December 29th.
Now it’s time for the big one. The highly anticipated “Dune” by Canada’s own Denis Villeneuve (“Arrival”, “Sicario”), which performed for the second time last week after Venice, was unsurprisingly the most popular performance to date.
It’s important to signal that this is part one so that audiences can handle expectations rather than leaving theaters in frustration like they did with The Fellowship of the Ring in 2001.
“Dune” is shown in IMAX format and is based on what many consider to be the greatest science fiction novel ever invented. It is an epic film that will immediately transport you into its world. Familiarity with Villeneuve’s work means that you already expect the best from every technical element. He takes the time to let every story he stages breathe. Supported by a bombastic Hans Zimmer score that you can feel in your stomach, this starter film offers solid performances as well as technical achievements.
Scenes in which the Oscar-nominated Timothee Chalamet trudges through the desert with sand-combed hair and flowing robes on his way to a fate he does not yet understand, when Paul, Duke of Atreides, feels as if the “Call Me By Your Name “star arrived in inevitable world fame.
A beardless Jason Momoa is pretty impressive as we can finally see the look on his face and of course Rebecca Ferguson is an anchored presence in her versatility. Villeneuve takes care to take the audience into this world of names, races, planets and kingdoms, the narrative always being very clear.
“Dune” hits theaters on Friday October 22nd.