Tag Archives: Denis Villenueve

Dune: Part Two

Timothée Chalamet is the top-billed star of Dune: Part Two. But, make no mistake, this is director Denis Villeneuve’s movie. 

As with other Villeneuve films (notably Bladerunner 2049 and Arrival, plus the 2021 Dune Part One) stunning images are a given. The desert landscapes and gigantic structures offer opportunities for compelling scenes that may or may not be have computer-generated elements but they look awesome.

The battles, big and small, employing high tech and low tech, involving thousands of souls or just two, the menacing desert worms (who provide a cool mode of transportation), the military aircraft that resemble mosquitos, that goofy sandwalk. One epic battle is staged in black-and-white to great effect. And it all proceeds at a good pace because there’s so much story to tell within a run time of 2:46.

Hans Zimmer, whose soundtracks are rarely subtle, charges in with low-pitched signatures that accompany key moments and fuel anticipation. This may be the loudest movie since Oppenheimer.

Because this film’s predecessor was released during the pandemic in October 2021 AND was made available to streaming at the same time as its theatrical release, many folks (including me) saw Dune: Part One on a small screen. Seeing Dune: Part Two on a large screen is, by comparison, overwhelming. It’s often said of films “see this movie on the biggest screen possible.” That suggestion applies here.

Is it necessary to have seen Dune:Part One to appreciate Dune: Part Two? No, but watching the first one or at least reading a plot synopsis provides context. 

Does Timothée Chalamet have the heft to portray a valiant warrior leading a classic quest? He is a slim man with a youthful countenance and cute curly hair. In the first film he is shamed by Jason Mamoa’s character for not putting on muscles. But, yes, he does manage to fill the heroic role ably because he is a talented actor. 

How do the Dune movies compare to the Star Wars films? There are similarities but the Dune movies lack the light-hearted moments and characters that populate the Star Wars universe. Villeneuve takes his sci-fi a bit more seriously.

The main plot: Paul Atriedes (Chalamet) leads a mission to the planet Arrakis to avenge the death of his father and to secure control of “spice,” the crop that fuels this future universe. He has the support of the planet’s persecuted Fremen who include his love interest Chani (Zendaya) and tribal leader Stilgar (Javier Bardem). 

The saga from Frank Herbert’s 1965 novel includes mythic and religious hopes seen in modern Christianity and Islam. Is Paul the Chosen One? The Lisan al-Gaib? The Mahdi? Some of the Fremen believe him to be a messiah.

Returning from the first Dune film are Paul’s mother Jessica (Rebecca Ferguson), Gurney (Josh Brolin), Baron Harkonnen (an enormous Stellan Skarsgård), Beast Rabban (Dave Bautista) and Reverend Mother (Charlotte Rampling). New characters in D2 include Feyd-Rautha (a menacing looking Austin Butler), the Emperor (Christopher Walken) and his daughter Princess Irulan (Florence Pugh).

Dune: Part Two is, on one hand, totally satisfying. A visual treat, a classic tale of good versus evil. On the other hand, there are a few elements of the story yet to be resolved. How soon will talk about a Part Three begin popping up? TBD.

But before that happens, don’t miss Dune: Part Two. It’s a must-see. As mentioned, strap in and see it in a theater. Rated PG-13.

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Prisoners

Prisoners is intense. To maintain energy and interest for two and a half hours, a film needs to keep moving. This detective story with a vengeance twist doesn’t stop throwing new plot developments until the screen goes black.

Hugh Jackman, in a non-singing role, is the more bankable star of Prisoners. But Jake Gyllenhaal delivers the stronger performance as a police detective charged with solving the disappearance of two young girls.

The Dovers (Jackman and Maria Bello) and the Birchs (Terrence Howard and Viola Davis) are suburban neighbors who get together for Thanksgiving. After the meal, their two young daughters go outside but soon disappear. Their older siblings recall seeing an old RV. When it is found, suspect Alex Jones (Paul Dano) is brought in and questioned by detective Loki (Gyllenhaal). But Jones has an apparent learning disability and can barely talk. With no solid evidence, he is released.

Dover, however, is convinced that Jones is the perp. Shortly after Jones is turned loose, Dover imprisons Jones inside an abandoned apartment building where he beats and tortures him. He enlists the aid of the Birchs (first Mr., later Mrs.) in the effort to get Alex to tell where the girls are.

Loki meanwhile pursues other leads, which take him to a couple of creeps including a priest on his sex offender list (Len Cariou) and a slimy guy who buys kids clothing but has no kids (David Dastmalchian). Loki finds weird things in each of their homes. He stops by Alex Jones’ home and talks to his mom (Melissa Leo) in his search for solid evidence.

Loki’s frustration increases until the Birch girl is found. In the wake of that occurrence, almost everything gets resolved.

Jackman is not the first male actor to express extreme anger about a daughter being abducted, but he carries it off well. Bello, Howard and Davis, sadly, have little opportunity to show their acting chops. Dano plays the simpleton perfectly. Leo is initially unrecognizable as the dowdy middle-aged mom. And Dastmalchian has a look that should get him as many decent “creep” roles as he can handle.

The reason to see Prisoners (along with trying to figure it all out) is Gyllenhaal. He maintains a level of intensity that hovers just below the boiling point through most of the film. He does blow his top a time or two.

Jake owes a debt to writer Aaron Guzikowski for handing him a great character and to director Denis Villenueve for delivering the story in a straightforward way, without any tricky stuff.

Prisoners has the grim look of rainy winters down south. (It was filmed in Georgia, a state that actually does have sunny days, though not in this movie.) It has no real comic relief. Prisoners is intense.

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