Dune: Part Two (2024)
With COVID-19 creating an unstable theatrical marketplace both in the operations of physical theaters and the willingness of the general public to travel and inhabit those shared spaces, 2021 marked an undeniably bold effort by Warner Bros known internally as Project Popcorn. It was decided that all 17 films released as part of their 2021 slate would be given simultaneous releases on HBO Max at no additional cost or premium pricing. The decision was met with a wide array of debate and outrage for how some viewed the move as a betrayal of both the theatrical model and of the creators who crafted these projects for big-screen release. Out of every film released as part of Project Popcorn, no release felt quite as questionable for the release method as Denis Villeneuve's Dune.
Adapting the first section of Frank Herbert's novel of the same name, Villeneuve's film was a strange film to fill this spot. Not only was Dune a big-budget blockbuster that largely benefits from the big-screen experience, but it also marked the first part of a larger story that gave more importance to the film connecting with audiences and bringing in box office receipts to justify production on the sequel. Luckily for all parties involved, Dune did well enough to earn that sequel with Dune: Part Two bringing the desert of Arrakis back to the big screen. Set in the aftermath of the brutal fall of House Atreides, Paul Atreides (Timothée Chalamet) and his mother Lady Jessica (Rebecca Ferguson) are taken in by the Fremen who view them as part of a larger prophecy that will lead to the liberation of Arrakis. While Lady Jessica realizes the power this could give them against the Harkonnen, Paul begins to question what pathway is right as he sees visions of destruction while also beginning a relationship with a Fremon warrior named Chani (Zendaya).
In nearly every way, Dune: Part Two is a far bigger film than its predecessor for better and worse. Since the start, one of the biggest selling points of the series has been its epic size and scale which translates to a notable cinematic experience. With Greig Fraser returning as cinematographer for the project, the visual eye within the film is undeniable with the seas of sand that cover Arrakis being once again stunning with fantastic injections of color and composition. Once again, the costume designs and production design from Jacqueline West and Patrice Vermette also work wonders in giving this land, and especially the people who live there, a texture and identity. While some of the symbolism from the first film feels lost, the sheer spectacle of some of these displays is more than enough to draw audiences in. This is also helped by the film's choices with world-building which feels rather compelling and interesting with iconography and logic.
This technical base is part of why the film's two sides of identity work so well. The first of these is as an action film. The first true epic blockbuster of the year, Dune: Part Two thrives in its intensity and scale. Especially in the third act where the film ends on a wonderful battle of energy and weight, the feature is often thrilling and engrossing in its action. From the size of the visuals to Hans Zimmer's score, the film all comes together to craft strong set pieces and sequences that are sure to get hearts pumping and palms sweating as it pulls the audience along for the ride.
The other side of the film's identity is its exploration of the politics behind religion. Using the key prophecy, the film analyzes both the power and damage that can come from religion, specifically foreign religions being shared and spread to indigenous populations. Paul encounters Fremon from all perspectives one could have on the prophecy he finds himself in the middle of. While Chani rejects the notion as propaganda meant to suppress and control her people, a Fremon man named Stilgar (Javier Bardem) comedically attributes everything as a sign of the prophecy and puts his full trust and hope into its potential. Paul also sees how Lady Jessica strategizes, using the prophecy almost like a secret weapon to build power and command. On paper, this feels like a rather worthy and intriguing conversation to have and one that would be intriguing to see Paul parse from his position, but this is where the screenplay's faults begin to reveal themselves.
The audience walks into this conversation from a strange position. Going back to the first film, the prophecy has been introduced as something of real value and truth. The audience has been given no reason to question or deny this prophecy, both from what has been introduced on screen and how it has narratively been positioned. It is a rather large curve to then introduce this drama and narratively it is placed rather oddly. Positioning this as a story of organized foreign religion being used to control an indigenous group opens the door for rather weighted politics, but the film is quick to take the side of the foreign religion by giving proof time and time again that it is the truth. So is the takeaway supposed to be that foreign religion is the truth and should be shared? The prophecy, outside of the natural death and destruction that comes from revolution, is ultimately a force of liberation. For the film to take this focus and engage in this conversation, it needs a clearer hand and direction than it does.
It also doesn't help that much of this conversation is awkwardly handled. The development of Paul's relationship with the prophecy is rather vague with much of the focus here coming from Lady Jessica and the conversations she has with her unborn child (Anya Taylor-Joy). These sequences often feel goofy and out of place with the already full film around them. Like the past film, Dune: Part Two can feel lost in identity. With a seemingly unsure future, but clear hopes for another sequel, the film balances setting up future stories with trying to wrap up the conflict established in the first film, creating a sometimes messy 165-minute runtime.
What is most confusing, however, is the film's build towards its final conflict. While the first film felt calm and focused as it reached its climax, Dune: Part Two feels rather rushed and disjointed. From needing retcons to explain various ways Paul might have a chance against the larger enemy to the rushed introduction to the new final boss of the film, Feyd-Rautha Harkonnen (Austin Butler), the grand climax of the film might feel near flawless but the road there is incredibly bumpy. Feyd-Rautha Harkonnen especially feels like a missed opportunity. Narratively, there is no reason this character shouldn't have been introduced in the first film with the established final boss, Glossu Rabban Harkonnen (Dave Bautista), feeling pushed to the side despite having been built up as a big deal in the previous feature. Butler's performance is also an odd one with his grand emotional outbursts never quite connecting. In the opposite situation, Timothée Chalamet commands well in his larger scenes of power but can struggle with the smaller emotional beats.
On a more positive note, Zendaya is a welcome addition to the cast with her personal inflictions giving the film some of its best moments of drama. Despite flaws with her dialogue, Rebecca Ferguson is also perfectly devilish while Christopher Walken nearly steals the show when he shows up for only a handful of scenes. As with much of the film, the performances end up being a mixed bag with the film coming close to greatness only to be held back by a few strange choices.
This struggle is found throughout Dune: Part Two. While there is plenty to fall in love with and get wrapped up in, specifically the action is undeniably spectacular, there are major flaws within the screenplay that create an even more mixed effort than the first film. Bouncing between something great and something terrible, the film lands firmly in the middle as a good yet ultimately flawed action epic. If it gets created, maybe Dune Messiah will finally be the project to give the series its unequivocal success.
Adapting the first section of Frank Herbert's novel of the same name, Villeneuve's film was a strange film to fill this spot. Not only was Dune a big-budget blockbuster that largely benefits from the big-screen experience, but it also marked the first part of a larger story that gave more importance to the film connecting with audiences and bringing in box office receipts to justify production on the sequel. Luckily for all parties involved, Dune did well enough to earn that sequel with Dune: Part Two bringing the desert of Arrakis back to the big screen. Set in the aftermath of the brutal fall of House Atreides, Paul Atreides (Timothée Chalamet) and his mother Lady Jessica (Rebecca Ferguson) are taken in by the Fremen who view them as part of a larger prophecy that will lead to the liberation of Arrakis. While Lady Jessica realizes the power this could give them against the Harkonnen, Paul begins to question what pathway is right as he sees visions of destruction while also beginning a relationship with a Fremon warrior named Chani (Zendaya).
In nearly every way, Dune: Part Two is a far bigger film than its predecessor for better and worse. Since the start, one of the biggest selling points of the series has been its epic size and scale which translates to a notable cinematic experience. With Greig Fraser returning as cinematographer for the project, the visual eye within the film is undeniable with the seas of sand that cover Arrakis being once again stunning with fantastic injections of color and composition. Once again, the costume designs and production design from Jacqueline West and Patrice Vermette also work wonders in giving this land, and especially the people who live there, a texture and identity. While some of the symbolism from the first film feels lost, the sheer spectacle of some of these displays is more than enough to draw audiences in. This is also helped by the film's choices with world-building which feels rather compelling and interesting with iconography and logic.
This technical base is part of why the film's two sides of identity work so well. The first of these is as an action film. The first true epic blockbuster of the year, Dune: Part Two thrives in its intensity and scale. Especially in the third act where the film ends on a wonderful battle of energy and weight, the feature is often thrilling and engrossing in its action. From the size of the visuals to Hans Zimmer's score, the film all comes together to craft strong set pieces and sequences that are sure to get hearts pumping and palms sweating as it pulls the audience along for the ride.
The other side of the film's identity is its exploration of the politics behind religion. Using the key prophecy, the film analyzes both the power and damage that can come from religion, specifically foreign religions being shared and spread to indigenous populations. Paul encounters Fremon from all perspectives one could have on the prophecy he finds himself in the middle of. While Chani rejects the notion as propaganda meant to suppress and control her people, a Fremon man named Stilgar (Javier Bardem) comedically attributes everything as a sign of the prophecy and puts his full trust and hope into its potential. Paul also sees how Lady Jessica strategizes, using the prophecy almost like a secret weapon to build power and command. On paper, this feels like a rather worthy and intriguing conversation to have and one that would be intriguing to see Paul parse from his position, but this is where the screenplay's faults begin to reveal themselves.
The audience walks into this conversation from a strange position. Going back to the first film, the prophecy has been introduced as something of real value and truth. The audience has been given no reason to question or deny this prophecy, both from what has been introduced on screen and how it has narratively been positioned. It is a rather large curve to then introduce this drama and narratively it is placed rather oddly. Positioning this as a story of organized foreign religion being used to control an indigenous group opens the door for rather weighted politics, but the film is quick to take the side of the foreign religion by giving proof time and time again that it is the truth. So is the takeaway supposed to be that foreign religion is the truth and should be shared? The prophecy, outside of the natural death and destruction that comes from revolution, is ultimately a force of liberation. For the film to take this focus and engage in this conversation, it needs a clearer hand and direction than it does.
It also doesn't help that much of this conversation is awkwardly handled. The development of Paul's relationship with the prophecy is rather vague with much of the focus here coming from Lady Jessica and the conversations she has with her unborn child (Anya Taylor-Joy). These sequences often feel goofy and out of place with the already full film around them. Like the past film, Dune: Part Two can feel lost in identity. With a seemingly unsure future, but clear hopes for another sequel, the film balances setting up future stories with trying to wrap up the conflict established in the first film, creating a sometimes messy 165-minute runtime.
What is most confusing, however, is the film's build towards its final conflict. While the first film felt calm and focused as it reached its climax, Dune: Part Two feels rather rushed and disjointed. From needing retcons to explain various ways Paul might have a chance against the larger enemy to the rushed introduction to the new final boss of the film, Feyd-Rautha Harkonnen (Austin Butler), the grand climax of the film might feel near flawless but the road there is incredibly bumpy. Feyd-Rautha Harkonnen especially feels like a missed opportunity. Narratively, there is no reason this character shouldn't have been introduced in the first film with the established final boss, Glossu Rabban Harkonnen (Dave Bautista), feeling pushed to the side despite having been built up as a big deal in the previous feature. Butler's performance is also an odd one with his grand emotional outbursts never quite connecting. In the opposite situation, Timothée Chalamet commands well in his larger scenes of power but can struggle with the smaller emotional beats.
On a more positive note, Zendaya is a welcome addition to the cast with her personal inflictions giving the film some of its best moments of drama. Despite flaws with her dialogue, Rebecca Ferguson is also perfectly devilish while Christopher Walken nearly steals the show when he shows up for only a handful of scenes. As with much of the film, the performances end up being a mixed bag with the film coming close to greatness only to be held back by a few strange choices.
This struggle is found throughout Dune: Part Two. While there is plenty to fall in love with and get wrapped up in, specifically the action is undeniably spectacular, there are major flaws within the screenplay that create an even more mixed effort than the first film. Bouncing between something great and something terrible, the film lands firmly in the middle as a good yet ultimately flawed action epic. If it gets created, maybe Dune Messiah will finally be the project to give the series its unequivocal success.