The latest on-screen adaptation of Frank Herbert’s 1965 novel, Dune: Part Two (2024), directed by Denis Villeneuve, is leaps and bounds better than its predecessor. Within mere moments, there is a palpable but welcome difference in tone, action, and just about everything else that this film — roughly the second half of the novel — has to deliver. Here is a sci-fi film that currently serves as the best argument for handing the keys over to an individual instead of a board of trustees and allowing them to sift the sand for its hidden treasures.Dune: Part One (2021) had the unenviable task of seeing if a novel — replete with its outmoded appropriations and decades’ worth of fans inventing their own visual schemata to match the material — could bear the weight of connecting with a contemporary audience. It would’ve come as a surprise to no one if Part One simply burned up in the atmosphere. Twice adapted and twice falling short of the mark, Denis Villeneuve’s version is the first that sees a coherence of aural and visual spectacle that captures something vital about the novel — the same quality that perhaps explains why it’s still read to this day.As a cinematic scouting mission, the film’s M.O. was to develop relations with a moviegoing audience that has been virtually starving for large-scale sci-fi to fill the void left by redirected resources and a spate of TV series diminishing IP with overabundance. No, this isn’t Star Wars, but we should be thankful.
The latest on-screen adaptation of Frank Herbert’s 1965 novel, Dune: Part Two (2024), directed by Denis Villeneuve, is leaps and bounds better than its predecessor. Within mere moments, there is a palpable but welcome difference in tone, action, and just about everything else that this film — roughly the second half of the novel — has to deliver. Here is a sci-fi film that currently serves as the best argument for handing the keys over to an individual instead of a board of trustees and allowing them to sift the sand for its hidden treasures.
Dune: Part One (2021) had the unenviable task of seeing if a novel — replete with its outmoded appropriations and decades’ worth of fans inventing their own visual schemata to match the material — could bear the weight of connecting with a contemporary audience. It would’ve come as a surprise to no one if Part One simply burned up in the atmosphere. Twice adapted and twice falling short of the mark, Denis Villeneuve’s version is the first that sees a coherence of aural and visual spectacle that captures something vital about the novel — the same quality that perhaps explains why it’s still read to this day.
As a cinematic scouting mission, the film’s M.O. was to develop relations with a moviegoing audience that has been virtually starving for large-scale sci-fi to fill the void left by redirected resources and a spate of TV series diminishing IP with overabundance. No, this isn’t Star Wars, but we should be thankful.
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