2020-2029, Film Review

Dune (2021)

Posted on October 20, 2021February 27, 2024 by Martin: Through the Silver Screen

**© Warner Bros and Legendary Pictures**

Dune – Film Review

Cast: Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgård, Dave Bautista, David Dastmalchian, Stephen McKinley Henderson, Zendaya, Chang Chen, Sharon Duncan-Brewster, Charlotte Rampling, Jason Momoa, Javier Bardem

Director: Denis Villeneuve

Synopsis: On the harsh desert world of Arrakis, the Atreides family are entrusted with the stewardship of the planet that is home to the most valuable resource in the world….

Review: When it comes to science fiction and fantasy storytelling, Star Wars and Lord of the Rings are two of the pinnacles of the genre, and have inspired generations of filmmakers and audiences. Yet, there is another body of work that is hugely influential to the genre. A story that featured a vast array of planets and civilisations, hailed by many as the greatest science fiction novel of all time. Now, in the hands of one of the finest directors working today, a new adaptation of Dune is here, and ready to win over a brand-new generation of fans.

In the far future, the most valuable resource is the spice Melange, harvested on the planet of Arrakis. For years, the planet and its people, the Fremen, have been under the brutal rule of the Harkonnens, who have ruled with an iron fist of fear. Now, it has been decreed that the planet, and the monumental task of mining the spice, will fall to the House Atreides, led by Duke Leto (Isaac). By his side, will be his son Paul (Chalamet) and Paul’s mother, the Lady Jessica (Ferguson), who belongs to a mystical order of powerful women known as the Bene Gesserit. There’s a lot of pressure on Paul’s shoulders, as the Bene Gesserit believe Paul could one day turn out to be the Chosen One.

Of course, this isn’t the first time that Frank Herbert’s novel has been adapted for the big screen. However, for reasons that are far too numerous to list here, David Lynch promptly disowned his 1984 adaptation upon release. Villeneuve has cited Dune as one of his favourite novels growing up, and from the very first minute, it is clear why he was the perfect director to helm this new adaptation. A glance at Villeneuve’s body of work has demonstrated his outstanding skill to bring jaw-dropping visuals to any story he directs, often in part due to astounding cinematography. While there’s no Roger Deakins behind the camera here, Greig Fraser is an extremely capable replacement. The gorgeous visuals are expertly combined with the sheer scale of this universe, and it is nothing short of epic.

Due to the extremely dense nature of the source material, it is a necessity for Villeneuve and writers Eric Roth and Jon Spaihts, to take their time. There is a staggering amount of existing lore and mythology to establish, as well all the various planets and Houses that exist within this story. It would be easy for any newcomers to get lost in the enormity of the world-building. Hence, the screenplay bides its time, and gives the audience ample opportunity to take everything in. The use of the practical, real life sets for the film’s production design, such as the immense Jordanian desert amplifies the impressive nature of the construction of this universe. As Villeneuve memorably said in an interview last year, “They didn’t shoot Jaws in a swimming pool!” The use of practical sets adds so much richness to the film and ultimately it makes it unlike anything that we’ve seen in this type of big-budget blockbuster filmmaking in a very long time.

At the centre of all this is Chalamet’s Paul. He’s an actor who has carved himself a career in a plethora of Indie films over the years. The central role in a gargantuan behemoth that is Dune, is quite the step up. However, he makes that transition into a leading man seamlessly. Ferguson as the Lady Jessica is a fierce and strong-willed woman. However, there is a vulnerability that she brings to the role as she is fiercely protective of her son and the gifts that he possesses. This adds considerable depth and nuance to the relationship between Paul and Jessica. Oscar Isaac brings a lordly aura to that of Duke Leto. Yet, despite his very many duties as the leader of a great House, he still exhibits warmth, especially where Paul is concerned.

Meanwhile, the characters of Jason Momoa’s Duncan Idaho and Josh Brolin’s Gurney Halleck, core components of the inner circle of House Atreides, are the notable standouts. Opposing the Atreides, is the ruthless House Harkonnen. Right from the moment they are introduced, they are instantaneously the foreboding and ominous threat that any film with such a richly developed universe, incomparable in its scope and majesty, requires. Furthermore, Stellan Skarsgård as the villainous Baron, is an on-screen presence that you will not be forgetting in a hurry.

Reuniting with Villeneuve after collaborating on Blade Runner 2049, there aren’t enough superlatives to describe just how special this score by Hans Zimmer really is. The true power of a good film score is how a single note can transport you into that world, and this score by Zimmer will take you back to Arrakis in an instant. While the cast are all phenomenal in their roles, given the obvious influences of Arab culture into the source material, it is disappointing that there is a distinct lack of MENA cast members present. However, as this film only represents one half of Herbert’s novel, a second part would give Villeneuve the chance to rectify that missed opportunity.

To give audiences one half of this incredible story, only to not tell the second half would be extremely disappointing. Sweeping epics like this seldom come around very often. Hence, the spice must flow sufficiently enough to ensure that second part will come to fruition, and not be something that will be swirling in our dreams from the deep forever more.

It was said to be unfilmable. Yet with a superb cast, incredible world-building and a sweeping and enthralling narrative, Denis Villeneuve has accomplished something truly special, and we’re only halfway through the story.

2010-2019, Film Review

Sicario (2015)

Posted on May 9, 2017December 5, 2024 by Martin: Through the Silver Screen

**Image is property of Black Label Media, Thunder Road and Lionsgate**

Sicario – Film Review

Cast: Emily Blunt, Josh Brolin, Benicio Del Toro, Jon Bernthal, Daniel Kaluuya

Director: Denis Villeneuve

Synopsis: In the war on drugs on the USA/Mexico border, an FBI agent is recruited as part of an undercover operation to take down a leading drug cartel.

Review: Whenever you depict war on film, chances are the results usually aren’t going to be pretty, especially the story you’re telling is focusing on the war on drugs and drug cartels near the US/Mexico border. Some folks are going to get their hands dirty and things are going to get messy very quickly, with some fatalities along the way. Though this is an ongoing conflict, and even though the events portrayed here are fictional, you would be forgiven for thinking that you are in fact watching a documentary about this struggle, and not a fictionalised version of events.

The gritty and dark nature of the story then is the perfect material for Denis Villeneuve, the director behind Prisoners, the dark and unsettling drama about a family who see their young daughters mysteriously disappear. Once again Villeneuve chooses a subject matter that will almost undoubtedly be very unsettling for some, but at the same time, it’s a story that is told with such conviction you will not want to take your eyes off the screen. The main protagonist here is Blunt’s Kate, an FBI agent who just wants to do what’s right, and that desire takes her into this conflict, and what she sees really opens her eyes. Alongside her is Josh Brolin’s Matt, an agent that is quite casual about the mission they’re on and Benicio del Toro’s Alejandro who by contrast, is not fucking around.

Taylor Sheridan in his debut screenplay tells the story in a very ambiguous way, is what we’re seeing right or is it wrong? There are certainly some things displayed on screen that are certainly very wrong, and not exactly pleasant, but for a film about the war on drugs, that is hardly a surprise. The film might be a slow burner, but the script keeps you hooked in the story, and Jóhann Jóhannsson’s score will keep you on the edge of your seat. The three leading actors all deliver performances of a very high award-worthy calibre, but special mention must go to del Toro who has perhaps never been better in his career and was mightily unlucky not to have received an Oscar nomination. He’s a man who is driven by his motivation, and that makes him one scary dude that you don’t want to anger, and if you have angered him, well you’re in deep trouble.

Villeneuve’s direction is masterful with some breathtaking wide shots of the FBI teams on their patrols, the camerawork is so authentic, that it really makes you feel as if you’re on patrol with these guys. It kind of goes without saying at this point but Roger Deakin’s cinematography is as beautiful to the eyes, and Johannson’s score is to the ears. Deakins’s work, as is so often the case is just mesmerising to look at, even with the depravity that you see on screen sometimes. It’s incredible to think that he has never won an Oscar across his superb career, despite amassing THIRTEEN nominations. It’s only a matter of time before he lands that coveted Oscar gold, Blade Runner 2049 perhaps?

With a pulsating final sequence that will have you biting your nails until the credits begin to roll, Villeneuve reinforced his growing reputation as a filmmaker to watch, which he further cemented with his magnificent alien invasion flick Arrival. To make a movie about such a weighty subject matter cannot be an easy task, but with Prisoners and Sicario, Villeneuve really proved more than anything when it comes to directing, he most definitely is a Sicario himself, one that is absolutely deadly and does not miss.

Dripping with gorgeous visuals combined with some heavy subject matter seems an unlikely recipe for success, but with electric performances and assured direction, this is superb tense and gritty entertainment.

2010-2019, Film Review

Arrival (2016)

Posted on November 11, 2016December 5, 2024 by Martin: Through the Silver Screen

Arrival – Film Review

Cast: Amy Adams, Jeremy Renner, Forest Whitaker, Michael Stuhlbarg, Mark O’Brien, Tzi Ma

Director: Denis Villeneuve

Synopsis: When 12 alien ships mysteriously appear in places around the world, a team of experts are gathered to assess the extraterrestrial visitors and determine why they are here?

Review: Alien invasion, a classic trope of the science fiction genre, One that so often delivers films where you sit back and just watch a load of mayhem and destruction with cities getting blown to smithereeens and the aliens must be stopped at all costs. While these can be fun and very enjoyable, science fiction is a genre that has the potential to go really deep and provide the audience with a thought-provoking piece of storytelling that gets the brain working and leaves its audience in awe and spectacle. This latest film from director Denis Villeneuve ticks that box, and then some.

Adapted from the short story Story of Your Life by Ted Chiang, with a screenplay by Eric Heisserer, we focus on Dr Louise Banks (Adams) a brilliant linguistics professor who is called in by the US military to help deal with the mysterious alien invaders and to understand just who are they, what do they want, and above all are they a threat to humanity? Aiding her in her quest is physicist Ian Donnelly (Renner) and together these intelligent academics must decipher what these extraterrestrial beings are up to. Heisserer’s screenplay is excellent, exploring some interesting themes we have seen in science fiction. Yet these are told in such a brilliant and engaging way that it keeps your eyes firmly transfixed on the screen. The mystery is maintained throughout the film’s running time as for a while, the craft of the visitors is not revealed, and it brilliantly keeps the viewer engaged. It is a smart and very thought-provoking story-telling that keeps you hooked from the very first shot, all the way to the last shot.

The centrepiece of this story is of course Adams’s Dr Banks, a wounded soul who has suffered some terrible tragedies in her lifetime, and yet, she remains strong-willed, determined to do all she can to understand what the alien visitors are after, and not to bow to the will of her military superiors, most notably Forest Whitaker’s Colonel Weber. Adams has had a very distinguished career, earning five Oscar nods, and another one could very well be coming her way next year. She carries the film on her shoulders and reinforces her reputation as a very stellar actress. Renner also gives a very grounded and superb performance and does his best to sprinkle a bit of humour here and there into the story, but the limelight belongs to Adams and she absolutely bosses it.

The directing from Villeneuve is masterful in its execution, aided by flawless cinematography from Bradford Young. The wide shots of the alien craft, as they appear in the sky, are truly something to behold. The flawless cinematography is aided by outstanding visuals and magnificent visual effects. The aliens themselves feel so real and authentic, that you don’t see it as a computer-generated image. Similarly, the alien crafts, though they do resemble pieces of a Terry’s Chocolate Orange, are beautifully designed and like their inhabitants feel very real and authentic. Re-teaming with Villeneuve after Sicario, Jóhann Jóhannsson’s score is mesmerising to the ears, as Villeneuve’s visual brilliance is appealing to the eyes.

Language and science are two subjects that rarely go hand in hand, but here, they most certainly do, and the results are a joy to behold. The mystery will hook you in and will not let go. With Villeneuve’s next film, the Blade Runner sequel, fans of Ridley Scott’s classic can rest assured knowing that the project is in very safe and capable hands.