Dune Cert: 12A | ★★★★★
Many have dubbed Frank Herbert’s 1965 fantastical science fiction novel Dune as unfilmable, and David Lynch’s ill-fated adaptation of the novel in 1984 seemed to cement that theory and it turned out to be so outlandishly bonkers. Which is why it took the new master of intelligent sci-fi, French Canadian writer-director Denis Villeneuve (Arrival, Blade Runner 2049) to dare take on one of the most complex texts in the history of the genre.
Covering only the first half of the book, Dune follows the story of the son of a noble family entrusted with protecting the most valuable asset in the galaxy.
Duke Leto Atreides (an earnest and likeable Oscar Isaac) accepts the stewardship of the dangerous desert planet Arrakis — think Sahara desert but with giant man-eating sandworms — a planet which is the only source of a drug capable of extending human life.
Despite suspecting that the opportunity is a trap set by his enemies, Leto takes his Bene Gesserit concubine Lady Jessica (Rebecca Fergusson) and young son and heir Paul (Timothée Chalamet) to Arrakis with him.
The Duke takes control of the spice mining operation, which is made even more dangerous by the presence of giant sandworms, but as it turns out, these killer creatures aren’t the only danger.
Villeneuve and co-writers Jon Spaihts and Eric Roth present a sumptuous and expertly devised story that is cerebral and yet commendably accessible.
In its new incarnation, Dune does a great job of refusing to dumb down or simplify Herbert’s text; instead it allows us to get lost in this beautifully orchestrated space opera even when it feels impenetrable.
Hans Zimmer’s score adds a degree of otherworldliness to Villeneuve’s gorgeously layered narrative, while Greig Fraser’s stunning cinematography dials up the air of mystery throughout.
Those who have remained immune to Chalamet’s charms so far might finally have to admit defeat. The actor, half French on his father’s side, half Jewish American on this mother’s side here demonstrates yet again that he has more range than most actors his age. Elsewhere, the film only gives us a few glimpses of Zendaya’s character with the hope of more to come in the second part, which is to follow. Rebecca Ferguson delivers a truly stunning performances as Paul’s mother.
Villeneuve has given us a complex and gorgeously layered adaptation that has succeeded in bringing this truly extraordinary text to the screen with style and determination.
I loved every second of this visually stunning, beautifully acted and genuinely thrilling offering from one of the masters of modern sci-fi. Don’t be put off by that ‘unfilmable’ label, this version definitely does justice to the original and is a must-see on the big screen, not just for sci fi aficionados.
The French Dispatch Cert: 15 | ★★★★✩
Wes Anderson’s love letter to journalism may not be everyone’s cup of tea, but it is one of his most moving, honest and hilariously on the nose films yet. Starring an army of Hollywood’s most recognisable faces, The French Dispatch is co-written by the famously unorthodox director in collaboration with Roman Coppola, Hugo Guiness and his Rushmore star Jason Schwartzman.
The film is set in a fictional French city hilariously named Ennuie-Sur-Blasé, and brings to life a collection of stories published in a magazine set up by American expat Arthur Howitzer, Jr (Bill Murray).Timothée Chalamet stars in a segment about the events of May 1968 alongside Frances McDormand and French Algerian actress Lyna Khoudri.
Another memorable segment features a truly stunning performance by Jeffrey Wright playing a fictitious version of legendary writer James Baldwin who moved to France in the hope of pursuing a writing career away from the stifling chuckles of American institutional racism.
Some aspects of the film might feel a little too know-it-all, but this isn’t a production for those who are newcomers to Anderson’s brand of comically stylised and overblown characters. It is a joy to watch an array of brilliant actors at the top of their game and a welcome antidote to the worthy dramas put out at this time of the year in the hope of making the award season’s lists.
With many French inside jokes and groan inducing jeu de mots, Anderson has managed to give us not only a love letter to journalism, but also a love letter to French culture, even if his depiction of Frenchness often relies — one suspects deliberately — on hilariously outdated stereotypes.
