‘Dune: Part Two’ movie review: Villeneuve delivers some of modern sci-fi’s greatest moments
As a sceptic of Denis Villeneuve’s first film adaptation of Frank Herbert’s widely influential and iconic science fiction novel Dune, critical of its oversaturation with sci-fi clichés, frankly awful dialogue and some even worse performances, I’d been equally hesitant of Part Two, although perhaps such a lack of anticipation allowed for its genuine cinematic brilliance to shake my senses to their respective cores.
We find Timothée Chalamet’s reluctant messiah and family heir, Paul Atreides, continuing his journey south across the desert planet Arakkis – having united with the native Fremen, some of whom indeed believe him to be a Christ-like figure – as he conspires to take revenge on House Harkonnen, who slaughtered his family and people at the end of Part One.
There was a sense in Villeneuve’s first film, particularly for non-readers of Herbert’s original novel, of being overwhelmed by high science fiction concepts and socio-political seeds of narrative, but having now already spent time in Dune’s world, such facets are not such a plague on our understanding, which enables Villeneuve, again aided by cinematographer Greig Fraser and the ever-masterful Hans Zimmer, to weave some of modern sci-fi’s undoubted greatest on-screen moments.
The sandworms seemed to be teased in Part One, but its sequel sees surely the most alluring and yet fearsome creatures of Dune take their rightful place in the spotlight. No longer are the colossal desert snakes mere foes but are now used for other means by the Fremen, including travel and religious ritual, and the scene in which Paul proves his messianic doubters wrong by calling forth a “grandfather” sandworm and actually riding it is a true spectacle, especially on IMAX, where each harsh grain of sand can be felt blasting against the screen to Zimmer’s skull-rattling score; a genuine hold onto your seat moment and perhaps the film’s best.
Chalamet himself is sadly once again incapable of delivering moments of inspiration or courage without bordering on the cringe-inducing, though he displays a broader proficiency in the romantic scenes with Zendaya’s Chani, further proof that perhaps Dune was not really meant to be his film despite his undeniable marketability. Elsewhere, though, Stellan Skarsgård and Rebecca Ferguson cement their excellent performances from the first film, and Josh Brolin and Javier Bardem (No Country For Old Men reunited) certainly improve on their prior efforts.
Austin Butler, Feyd-Rauhta Harkennon, nephew of Baron Vladimir, Léa Seydoux, Bene Gesserit Lady Margot Fenring, and Florence Pugh, daughter to Emperor Shaddam IV, add yet more quality to a cast of ridiculous talent, and Butler actually manages to steal the show at certain moments as the film’s new antagonist, a deranged and violent psychopath handed reign of Arakkis by his uncle, and he admirably displays a fetishist sex appeal, an impressive physicality in Gladiator-esque moments, and an utterly psychotic attitude all in the same breath.
Villeneuve has previously stated his love for the science fiction genre, explaining how it enables one to discuss real-world issues like politics and religion with more artistic freedom, free from the watchful and critical eyes of unforgiving fundamentalists. Dune: Part Two takes this freedom and runs, offering a critique of messianic and prophetic faiths, as well as exploring the inevitable corruption of and desire for absolute power, with undoubted references to Christianity, Indigenous communities, governmental cruelty and violence, and guerrilla revolution.
Once again, the film is an absolute production masterpiece with prop and costume design at a masterful level of genius, allowing for a sense of believability in its world that never relents nor abates. Dune simply has to be seen on the big screen to be truly experienced; any lesser viewing negates its Lawrence of Arabia-indebted cinematography, captivating action sequences and a score of a stultifying, almost deafening quality.
I’d found Dune: Part One to be a mere science fiction cliché exercise, perhaps admittedly owing to Herbert’s singular original influence on the genre, but by the time Part Two’s nearly-three-hour runtime had drawn to a close – even featuring a seemingly rushed ending – I’d undoubtedly become a new convert to Paul’s quest, utterly mesmerised by its prophetic vision and some of the greatest science fiction moments in contemporary cinema.
