Dune: Part Two

Let me start by stating that while few films are absolutely perfect, I consider Denis Villeneuve's entire body of work, including the first Dune, to be something close to a masterpiece. That's not to say that I wouldn't change a single frame, few pieces of art are downright infallible, but Villeneuve demonstrates time and time again that he has mastered his craft in such a mesmerising way that even something as difficult as a grandiose yet intimate interpretation of one of the most advanced, profound and allegorical sci-fi novels is nothing beyond his reach.

Villeneuve has now directed and written so many rock-solid films across genres that the concept of the challenging sequel doesn't really apply, but at the same time, the pressure is on in these uncertain times, where one-off films can become multi-million dollar successes, but franchised efforts, such as everything both DC and Marvel have produced recently, can no longer be considered reliable. So, how can an epic sci-fi sequel with a lot on its mind work with a $190 million budget, while trying to close out a wildly ambitious take on Herbert's first novel?

Okay, I'm stalling. The answer is, quite simply, that Villeneuve not only demonstrates that he fundamentally understands what Dune is about, but manages to find the essence, the common thread, in Herbert's mildly facetted writing. Dune: Part Two is among Villeneuve's best, which is saying something, and it's arguably one of the best blockbusters of the year for a number of reasons.

Part Two picks up the threads of the rather cynical, systematic and planned extermination of the Atreides family's operation on the desert planet Arrakis, and the rival clan, the Harkonnen family, is now back in the coveted spice production business with the blessing of Emperor Shaddam IV. Paul Atreides must take revenge on the Harkonnen heads and the rest of the deeply corrupt Landsraad, and he does so through the Fremen desert people, who must resist the Harkonnen takeover square kilometre by square kilometre.

Many of the key remaining characters from the already star-studded first film return. Timothée Chalamet is divine as Paul, but while Dune: Part Two is 'his' film, so to speak, he's backed up by a stellar cast including Josh Brolin, Zendaya, Rebecca Ferguson and Stellan Skarsgaard, as well as new faces Austin Butler (who is fantastic as the rather central Feyd-Rautha Harkonnen), Florence Pugh and Christopher Walken. A good portion of the film's budget has gone to this wild selection, but you get the sense that no one is chosen purely for star power. They're there because they embody their respective characters with depth and dedication, and there isn't a weak link between them.

Combined with some of the most epic war sequences I believe have ever been brought to the big screen, which, while utilising CG animation, does so in an incredibly tactile and physical way (much like The Lord of the Rings did, for example). On top of that, Hans Zimmer delivers perhaps his best score to date, and while some of his work is a little overrated if you ask me, this is memorable, bizarre, unique and iconic.

So, are there any criticisms? Well, yes, even with plenty of actual plot threads to grab onto, characters to expose and develop and events to cover, Dune: Part Two feels long. Two hours and 46 minutes is nothing to sneeze at, and there are very few films, if ever, that are that long without feeling a little fatiguing, reminding you that the balance point between epic scope and something that's really just drawn out for the sake of it is as thin as a razor's edge. Dune: Part Two feels a little too long, but I've repeatedly made this complaint about major Hollywood films, and have come to realise that not everyone experiences that mental fatigue in the same way I do. The other side of that coin, however, is that Dune: Part Two needs its lengthy running time to really explore some of the more central themes that are so crucial to successfully claiming to have interpreted Herbert's work, and it does so with confidence. In fact, there are times when the actual plot even moves a little fast, which again proves how difficult it has been to maintain the common thread. But we've managed it, we really have.

And with that, we've reached the finish line. Villeneuve did it, the cast did it, screenwriter John Spaiths did it, composer Hans Zimmer did it, they delivered a successful, ambitious and well-constructed interpretation of a book that was previously considered impossible to interpret. Not only that, in the process Villeneuve has further cemented his reputation as one of Hollywood's most consistent and exciting directors - well, maybe ever. With seven films under his belt, all of which get a wholehearted recommendation from me, there's nothing left to say but bravo.