Dune: Part Two

GoMovieReviews Rating: ★★★★1/2Dune: Part Two

Directed by: Denis Villeneuve

Based on the Novel by: Frank Herbert

Screenplay Written by: Denis Villeneuve, Jon Spaihts

Produced by: Mary Parent, Cale Boyter, Denis Villeneuve, Tanya Lapointe and Patrick McCormick

Executive Producers: Joshua Grode, Jon Spaihts, Thomas Tull, Herbert W. Gains, Brian Herbert, Byron Merritt, Kim Herbert, Richard P. Rubinstein and John Harrison.

Starring: Timothée Chalamet, Zendaya, Rebecca Ferguson, Josh Brolin, Austin Butler, Florence Pugh, Dave Bautista, Christopher Walken, Léa Seydoux, Souheila Yacoub, Stellan Skarsgård and Javier Bardem.

‘Power over spice is power over all.’

This is the mantra of the Harkonnens and the basis of the political intrigue in the Dune series.

It’s now the year 10,091.

Princess Irulan (Florence Pugh), the daughter of The Emperor (Christopher Walken) creates a voice memo, introducing Dune: Part Two, where the entire House of Atreides have been wiped out over-night. No warning, no survivors.  Except a few.

The Harkonnens now control the harvesting of spice with the ever-present influence of the Bene Gesserit.

The extent of the Bene Gesserits’ power becoming more apparent as the prophecy of the son, known by the Fremens as Lisan al Gaib, gains momentum.

It’s Paul Atreides (Timothée Chalamet) they believe to be the Bene Gesserit’s son, the Mahdi of the Fremen whom they believe will lead them to paradise.

An ideal originally conjured by the Bene Gesserit and encouraged by Paul Atreides’ mother, Jessica (Rebecca Ferguson) as her pregnancy continues and her daughter grows in her belly.

Paul doesn’t fail in his fulfillment as he adapts to the desert and Fremen way of life with the help of Chani (Zendaya).

Even though he’s an outsider, Chani grows to love him – he’s different to the other outsiders.  He’s sincere.

My initial thought at the end of Dune: Part One of, I hope it doesn’t get cheesy, was unwarranted because despite the glimmers of light between Paul and Chani, this is a dark journey filled with moments like the sucking of water out of the dead and… Almost dead.

The Harkonnens’ are particularly brutal, the young nephew of The Baron (Stellan Skarsgård), Feyd-Rautha (Austin Butler), is known by the Bene Gesserit as psychotic but manageable.

It’s a fight for survival as the Fremans sabotage the spice harvesters with the help of Paul, each success building his reputation as the Lisan al Gaib, confirming Stilgar’s (Javier Bardem) faith.  Stilagar gives him his Freman name, Paul Muad’Dib.

The build of belief catches fire, fierce stories spread about Lisan al Gaib, ‘Our resources are limited.’  Paul explains.  ‘Fear is all we have.’

Nothing can live down south without faith.  And now, instead of friends, Paul has followers.

There’s A LOT to unpack here, but at its foundation, Dune: Part Two has a heavy layer of religion and how religion is used to gain power – the ultimate power: to control the harvest of spice.

Parts of the story were glossed over, like the return of Gurney Halleck (Josh Brolin).  And it’s easy to get lost in the intricacies of the story and characters, but there is absolutely never a dull moment in this film (editor: Joe Walker).

This is a vastly entertaining journey, ‘you will see the beauty and the horror,’ all in the dance of shadows over rock, the disappearance of a mother’s face into shadow after seeing her son forever changed – there’s black and white film used to portray the stark and evil of the Harkonnens alongside the red desert and solar eclipse (director of photography: Greig Fraser), flying black suits and pit fighters with black horns like insidious devils (costume designer: Jacqueline West).

All to the beat of a thumper that blends the desert and call of the worms with the beat of intrigue and violence in the capital (composer: Hans Zimmer).

This is a brutally entertaining film that lives up to the hype and is absolutely worth seeing on the big screen.

Better than Part One which is a big call because Part One was brilliant (winning six Academy Awards) and I’m guessing everyone will walk out of the cinema asking, when’s the release of Part Three?

 

Climax

Rated: MA15+Climax

Directed by: Gaspar Noe

Screenplay by: Gaspar Noe

Produced by: Edouard Weil, Vincent Maraal, Brahim Chioua

Choreography: Nina Mc Neely

Starring: Sofia Boutella, Romain Guillermic, Souheila Yacoub, Kiddy Smily, Clude Gajan Maull, Giselle Palmer, Taylor Kastle, Thea Carla Shøtt, Sharleen Temple, Lea Vlamos, Alaia Alsafir, Kendall Mugler, Lakdhar Dridi, Adrien Sissoko, Mamadou Bathily, Alou Sidibe, Ashley Biscette, Mounia Nassangar, Tiphanie Au, Sarah Belala, Alexandre Moreau, Naab, Strouss Serpent, Vince Galliot Cumant.

A spectacular sensor experience that slowly becomes a disturbing endurance.

‘1996, it was just last night’ – director, Gaspar Noe.

Climax is a horror set to dance music from the 90s where everyone goes insane on very, very bad acid.

This is a film based on a real news story from France.

Daft Punk had just released their first record.  And you could still smoke on the dancefloor.

A troupe of dances finish a rehearsal choregraphed by Selva (Sofia Boutella); DJ Daddy (Kiddy Smile) keeping up the tunes while the dances decompress and party.

We’re brought into this amazing space of dancing and music, with most of the characters made up from the best dances director Gaspar Noe and doll line producer Serge Catoire could find in France (and those who could travel to France): waackers, krumpers, a group of electro dancers and a contortionist (Strauss Serpent) for that extra bizarre movement.

And we watch as the dances drink spiked sangria.

And we watch as each of the characters go insane.

There’s a fascinating introduction to each of the dancers with their audition tapes shown on video so we get this psychological profile before they’re all, well, fu*ked.  So we see who they are normally and how they might react to the LSD: horny, confused, hysterical, paranoid, self-harming, murderous.

And the way the dancers were shown speaking to the camera, the dance-moves shot from above; the spinning…  I was completely absorbed from the opening scene.

But really, prepare yourself, there’s cutting, incest, burning and basically people completely losing it, all in this abandoned school with the music always playing.

I was reminded of scenes from Event Horizon (1997) depicting the crew in space when they went literally through hell.

But Climax is based on real and relatable people.

I was into the film.  Then it became an endurance.  It just kept on getting more and more confronting.

People left during the media screening.

For me, if there was just a shocking end to the crescendo (a climax!), I would have gotten into the film more.  But the timeline was kept linear, showing the decline into madness with each step given its due…  Lower and lower until the camera barely lifted from the polished concrete floor reflecting the animalistic grunting and f*cking and blood.

Climax will definitely evoke a response.

It certainly shocked me sideways.

Music:

TROIS GYMNOPEDIES (ERIK SATIE) by GARY NUMAN  SOLIDIT by CHRIS CARTER  SUPERNATURE by CERRONE  BORN TO BE ALIVE by PATRICK HERNANDEZ  PUMP UP THE VOLUME by M/A/R/R/S  FRENCH KISS by LIL LOUIS  SUPERIOR RACE and TECHNIC 1200 by DOPPLEREFFEKT  DICKMATIZED by KIDDY SMILE  SANGRIA and WHAT TO DO by THOMAS BANGALTER  VOICES by NEON  THE ART OF STALKING by SUBURBAN KNIGHTS  ROLLIN’ & SCRATCHIN’ by DAFT PUNK  WINDOWLICKER by APHEX TWIN  ELECTRON by WILD PLANET  TAINTED LOVE / WHERE DID OUR LOVE GO by SOFT CELL  UTOPIA ME GIORGIO by GIORGIO MORODER  ANGIE by THE ROLLING STONES  MAD by COSEY FANNI TUTTI and COH.

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