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| Timothée Chalamet and Zendaya in "Dune: Part Two" Photo Credit: RottenTomatoes.com |
In 2021, director Denis Villeneuve added another entry to his stunning work of sci-fi cinema with the first part of his adaptation of “Dune,” which is based on the 1965 novel by Frank Herbert. Despite this once being seen as an unadaptable book, Villeneuve delivered a film that captured the spirit and complex mythology of the novel, while still making it palatable for those who didn’t read it. Given what was seen in this film, the possibilities were endless as to what Villeneuve could do once it came time to film the second movie.
With “Dune: Part Two,” he brings us what may not only be one the best sequels ever made, but one of the best films in the sci-fi genre, crafting a movie that’s loaded with rich, memorable performances, a screenplay that respects the source material, and technical craft that continues to bring Herbert’s creation to pulsing, heart-pounding life.
After the events of the first film, Paul Atreides (Timothée Chalamet) and his mother, Lady Jessica (Rebecca Ferguson) are on the run with a group of people known as the Fremen, venturing through the harsh conditions of the desert planet of Arrakis. With their alliance, they’ll engage in a war with House Harkonnen that will change the course of their civilization.
Chalamet, while great in the first installment, evolves his character even further to give us a morally complicated protagonist whose motives become even more questionable as the film goes on. There’s a strong sense of untapped power simmering beneath Paul as he gets closer to his destiny. Even if you’ve read the book and know the direction in which his character will go, Chalamet still manages to keep you on edge as you witness his future unfold and he’s torn between how he should handle his new role as a leader. This is engaging work from Chalamet that has a dark regality to it that matches the epic nature of the story, going between quick bursts of emotion and an intimidating sternness that has you unable to take your eyes off him. Chalamet gives it his all and proves why he’s one of the most talented actors of his generation, and if the rumored adaptation of the second book in the series, “Dune Messiah,” does happen, I’m sure Chalamet will continue to build on his character in ways that capture the substance of Herbert’s intriguing protagonist.
Zendaya, who has a much larger role in this film compared to the first film, is wonderful to watch as Chani, a Fremen freedom fighter who expresses an unwavering grit when it comes to protecting her people. She portrays a fascinating arc that unfolds alongside Paul, and while Zendaya and Chalamet have superb romantic chemistry (particularly a quiet heart-to-heart scene atop a sand dune at sunset), the meat of their emotional bond comes when they’re at odds with the direction in which Paul is headed. As Chalamet’s character decides to embrace his duty, Zendaya grabs your attention as Chani shows a strong opposition that adds layers to their relationship and promises more complexity in possible future installments.
Just like Chalamet, Ferguson delivers a character whose complexities mirror that of Paul’s as their places in the prophecy become more defined. Ferguson displays Lady Jessica’s transformation to chilling effect, with circumstances arising that turn her into a religious-type figure who can command a room with just a glare. As a figure who wants to make sure her son’s destiny is fulfilled, Ferguson exhibits Lady Jessica’s now-questionable ideals to disquieting effect, emphasizing a power to make sure her will is done.
This movie has several exciting new additions to its ludicrously talented cast, but Austin Butler is the standout as Baron Vladimir Harkonnen’s (Stellen Skarsgård) psychotic nephew, Feyd-Rautha Harkonnen. Butler gives a disturbing performance as a warrior who promises death to those who cross him, making you sink back into your seat in order to be as far away from him as possible. Right from his first scene, Butler dives deep into the crazed nature of his character, promising a villain that will drench the screen with his bloodlust.
As for the rest of the cast, the other returning members include Skarsgård as the Baron; Josh Brolin as Paul’s mentor, Gurney Halleck; Dave Bautista as the Baron’s other nephew, Glossu Rabban Harkonnen; Charlotte Rampling as Gaius Helen Mohiam, a Bene Gesserit Reverend Mother; and Javier Bardem as Stilgar, a Fremen tribal leader. The remaining newcomers include Florence Pugh as Princess Irulan; Christopher Walken as her father, Emperor Shaddam IV; Léa Seydoux as Lady Margot Fenring, a Bene Gesserit; and Souheila Yacoub as Shishakli, a Fremen warrior and friend of Chani’s. This is a cast that understands the essence of each character, fleshing out a world where we see many engrossing interactions between these figures as each alliance moves its pieces further into a war that’ll engulf them.
The screenplay by Villeneuve and Jon Spaihts, who were two of three screenwriters on the first film, deliver an even more dense adaptation as the film delves further into the political intrigue and religious/philosophical explorations that were set in place in the last film. Despite that density, the screenwriters are careful as they lay down the details of the different groups of people and their cultures, helping us to understand how the characters view the events that are taking place and what it all means for the rest of the story. This installment has a runtime that’s over two and a half hours, which offers plenty of breathing room to expand what came before, and you feel the significance of every minute. The screenwriters have full control over the mammoth canvas of the source material, juggling the many characters and locations to impressive effect that compliment the novel’s epic storytelling. They offer vivid character moments and write striking action scenes, bringing us back and forth between these two aspects in such a way that there’s an equal amount of power between the emotional arcs displayed by the cast members and the visceral energy of the battle sequences.
Just as cinematographer Greig Fraser did with the previous film, he captures the beauty and horror of the worlds from Herbert’s depthless imagination. These are visuals that demand to be seen in a theater so that you can experience the colossal depth and detail of what’s presented. Whether it’s the treacherous deserts of Arrakis, the tranquil grounds of the Emperor’s kingdom, or the deathly gloom of the House Harkonnen territory, we remain absorbed in the enveloping imagery of these environments. In what may be one of the most visually impressive scenes that Fraser and Villeneuve have put together in their careers, they use black-and-white infrared cameras during a jaw-dropping gladiatorial sequence, which acts as an introduction to Feyd-Rautha Harkonnen’s character. Here, you’re transported into the imposing arena that doesn’t hold a shred of hope for those who have to go up against Feyd-Rautha, and it’s a game-changer of a scene that will have you wondering what the rest of the movie could possibly have in store. Let me assure you: the movie is one long ascension in terms of its visual beauty.
Hans Zimmer returns from the previous film and tops himself with a score that’s absolutely thunderous, immersing you in the atmosphere of the gargantuan sights. His score speaks so much for what’s going on, that there are times where you think you might not even need dialogue and that the images can just get by on the music, such is the magnitude of his score.
Joe Walker comes back as the editor, making a film where you feel the length, but that’s certainly not a bad thing. Even as we learn new things and have to keep up with it all, he maintains the flow of the movie as we move through the narrative. It’s slow enough to allow us to absorb everything, but also fast enough to keep the excitement and intrigue going. It’s a perfect type of flow that’s befitting for a sci-fi epic, just as he did for the first installment and Villeneuve’s “Arrival.”
With “Arrival,” “Blade Runner 2049,” and his “Dune” films, Villeneuve has become one of our preeminent modern sci-fi directors. The sense of scope that he brings to this massive adventure will leave you shaken as you’re thrown further into the mythology of this universe. With this book being very difficult to adapt, it feels as though Villeneuve was born to make this movie, a film that will surely stand as the definitive adaptation. He’s a filmmaker whose penchant for balancing spectacle and complex storytelling has worked wonders for “Dune,” and he makes sure to get impactful performances out of his cast that reflect the vastness of the film that they inhabit. And, when it comes to the behind-the-scenes talent of Fraser’s cinematography, Zimmer’s score, and Walker’s editing, it’s a convergence of masters that makes you think this film couldn’t be made any other way, that this is the way it’s supposed to look and feel.
This installment puts even more enticing pieces into place that promise a further big-screen future for Herbert’s books, with Villeneuve planning to adapt the aforementioned “Dune Messiah.” It’s difficult to consider how any other film in this series could top “Dune: Part Two,” but if there’s anyone who can do it, it’s Villeneuve. The deserts that he depicts overflow with cinematic life, and I can't even imagine what’s going to thrive there next.
Grade: A
