Dune: Part Two an astounding, cinematic experience
There's no lack of ambition where Denis Villeneuve's epic adaptation of Dune: Part Two is concerned. Instead of shrinking from the task of bringing a complete-as-possible version of Frank Herbert's complex sci-fi epic to the screen, he rises to the task again and again, not only in his visual approach, but in the way he tackles the dense, multi-layered narrative. You would be well-advised to watch the previous installment as this volume wastes little time picking up the narrative.
Paul (Timothee Chalamet) and his mother, Jessica (Rebecca Ferguson), have been taken in by the Fremen, the native people of the planet Arrakis, after escaping an assassination attempt by the Harkonnen. Their presence is welcomed by some, who have come to see Paul as the messiah they've been waiting for, while others see them as outsiders, intent on revealing their secrets.
Meanwhile – and there are quite a few meanwhiles – Baron Harkonnen (Stellan Skarsgard), displeased with the way his secret plot to take out the Atreides family has progressed and the fact that his lackey Rabban (Dave Bautista) has failed to raise the harvesting of Arrakis' precious resource, Spice, has put his nephew, Feyd-Rautha (Austin Butler), in charge. This psychopath is intent on not simply pleasing his uncle but killing Paul as an act to put a definitive stamp on his family's violent, fear-inducing reputation. However, before this confrontation can take place, determining whether Paul is in fact the chosen one takes up the bulk of the narrative. Taking out massive spice harvesters with a guerilla band of Fremen, he quickly builds a reputation as a fierce, intelligent warrior, his love, Chani (Zendaya), constantly by his side. Stigler (Javier Bardem), the leader of a religious sect within the culture, is convinced he is their messiah. Others are more skeptical.
The conflict that arises among the Fremen births a moral civil war as religious sects form, fundamentalists and zealots each interpreting Paul's actions differently in order to support their respective doctrines. The danger of religion when used to further political gains is one of Herbert's main themes and serves as the primary catalyst where characters' motivations and actions are concerned. This, as well as the film's examination of the corrupt nature of governments, the vagaries of imperialism, the abuse of the environment for financial gain and the corrupting nature of power make for a dense and rewarding narrative, elevating this saga above "space opera" status.
Location shooting in Abu Dhabi and Jordan ground the movie, giving the entire production a sense of place and wonder that no amount of digital wizardry could hope to duplicate. As such, it's reminiscent of the sort of grand filmmaking that has regrettably gone out of style, comparisons to its most obvious antecedent, Lawrence of Arabia, appropriate due to its visual grandeur, as well as its conflicted hero and complex narrative. Coupled with bracing action sequences and striking characters, Dune: Part Two is an impressive achievement, a film that reminds us of the power of the cinema and the necessity of being overwhelmed by productions of its sort in a theater setting. In theaters.
Spaceman an untethered bore
It's never a good sign when a film sits on the shelf for over three years. Such is the case with Johan Renck's Spaceman, a well-intentioned, plodding sci-fi tale that aspires to mentioned in the same breath as 2001: A Space Odyssey and Interstellar, but falls well short of the mark.
It's been four years since an odd pink cloud has appeared in the Earth's night sky. Unsure as to what it contains, the Czech Space Agency has sent a single cosmonaut, Jakub Prochazka (Sandler), to investigate. Alone for nearly 200 days, he's 500 million miles from home. He depends on the daily interstellar video calls from his wife, Lenka (Mulligan), and when a day goes by without hearing from her, he grows suspicious. Sensing Prochazka's mind is in a fragile state, mission director Tuma (Isabella Rossellini) has intercepted the call, refusing to forward it as the pregnant and distraught Lenka has decided to leave her husband, a piece of news that will likely prove devastating.
While not hearing from his wife preys on his mind, Prochazka has other things to contend with, namely a spider-like alien creature he dubs Hanus (voice by Paul Dano), which has somehow gotten on board his ship. Though somewhat malevolent in appearance, the creature proves to be a benevolent companion, asking questions about the titular character's past, listening to his concerns and even offering advice to the Earthman. There's more than a bit of pop psychology at play.
Renck's intent is to mirror the journey to the mysterious cloud with a trip through Prochazka's past. As he travels into deep space, we are given glimpses of key events from his past, most dealing with his fractured relationship with Lenka. Memories of their first meeting are combined with those recalling horrendous fights, as well as scenes of great tragedy. Hanus suggests the cloud contains matter from the beginning of the universe and all things.
These moments are presented though a fish-eye lens, often accented by overly bright, saturated colors. These attempts to suggest the cloud is prompting these memories are awkward and heavy handed, coming off as distracting rather than edifying. These disruptive moments only add to the viewer's frustration as Renck's languid pacing keeps us at arm's distance throughout.
If the extended takes he uses throughout were an attempt to give the story an air of solemnity, the approach couldn't have backfired more, tedium the result. As for Renck, unfortunately his reach falls short of his ambition. Stripped down and told briskly, Spaceman may have had the impact the filmmaker was aiming for. As it is, the film just floats about aimlessly, like an untethered cosmonaut. Streaming on Netflix.
