Review: “Dune: Part Two”

There is an almost unlimited list of items to praise about Denis Villeneuve’s follow-up to 2021’s “Dune: Part One”, but we must start somewhere.

Fans of the director’s 2016 masterful slow-burn, “Arrival”, will appreciate Villeneuve’s ability to give imposing physicality to large-scale objects sitting in vast areas of land. In “Arrival”, viewers only truly experienced this via a single mysterious spaceship floating above the ground in Montana, but its intimidating presence was undeniable.

In the world-extending “Dune: Part Two”, Villeneuve and his team take this up several notches, impressively presenting their vision for a diverse range of spacecraft and machinery, including things that fly, things that dig and things that kill. This imagination and creativity, supported by unerring sound mixing, contributes to an immersive cinematic experience that won’t soon be forgotten.

Of course, none of this would matter in the absence of a strong story. Fortunately, “Dune: Part Two” builds sumptuously upon the foundations laid in the first film, with change aplenty for Paul Atreides (Timothée Chalamet) to endure. The death of his father and the end of his house at the hands of the grotesque Harkonnens have left him with no option but to learn the ways of the Fremen, the blue-eyed natives of the desert planet Arrakis. Aided by the self-interested efforts of his mother, Lady Jessica (Rebecca Ferguson), Paul fights for acceptance amongst the Fremen, always aware through his visions that his actions may have a devastating impact on Arrakis and beyond.

One of the most interesting aspects of this film is its perspectives on religion and mythology. To the zealots among the Fremen, Paul is the Lisan al Gaib, the messiah that will lead them to paradise. To the others, including love interest Chani (Zendaya), he is a false prophet. Villeneuve goes to great lengths to examine the merits of both sides, as well as the toll leadership can take when thrust upon someone so young.

After a ferociously entertaining opening, Villeneuve slows the pace, but there are several scenes scattered throughout the film’s runtime that should induce awe and admiration. Paul’s attempts to learn to harness the power of the terrifying sandworms, as well as the violent introduction of Austin Butler’s Feyd-Rautha, are just two examples.

If there are limitations to “Dune: Part Two”, they lie in the challenge of being the middle film of a trilogy. Not only does it have to tell its own story, it has to connect to the threads of what came before and what will come after. As such, the latter part of the film drags in parts, as Villeneuve sets up the conflicts that will determine the series’ conclusion.

Of course, all should be forgiven due to the scale, style, score, and spectacle we have been gifted. Not since “The Two Towers” has such a boundless universe been realized so remarkably. If the third instalment can match the quality of its predecessors, “Dune” will join “The Lord of the Rings” films in exalted company.

Review: “Wonka”

Genius. Traveller. Entrepreneur. Philanthropist. Ever since the print release of Roald Dahl’s 1964 Charlie and the Chocolate Factory, every one of these qualities has been highlighted in each iteration of the character of Willy Wonka, from Gene Wilder’s engaging yet quietly threatening version to Johnny Depp’s kooky and slightly disturbing interpretation.

Here, with Timothée Chalamet donning the familiar purple robe, top hat, and cane, we see the wide-eyed, uncynical, and unflappable Wonka, imbued with so much hope and optimism that you may need a visit to the dentist after you absorb the saccharine sentiments he spouts throughout his 100 minutes on screen.

But let’s get one thing straight: Wonka is a lovely movie. In a post-Christmas world, this is a film that will lift your spirits and give you the sugar rush that only a satisfying trip to the big screen can provide. Such is Chalamet’s Wonka’s zest for life and passion for positivity, even those most foisted upon by the January blues will have their hard hearts melted.

Though it might be hard to believe, Wonka is even more fantastical than any of its predecessors. In this almost-an-origin story, the titular character arrives in a city most akin to Victorian London, seeking to make his fortune after seven years at sea. However, such is the enchantment on show, it is safer to assume that the events of Wonka take place in an alternate universe, where magic and impromptu musical numbers are parts of daily life.

In fact, it is important to point out that this film is far more of a musical than its 1971 and 2005 counterparts. The songs here are similar to those in other recent musical successes, such as The Greatest Showman: romping, stomping numbers that both progress and elevate the story being told.

Including a gleeful cast, notably the wonderfully villainous pair of Olivia Colman and Tom Davis, as well as the delightfully devious Paterson Joseph (playing Wonka’s nemesis, Slugworth), the run-time zips by, with barely a breath taken between each act.

It will come as no surprise to those that have seen director Paul King’s other works, particularly the Paddington films, that there is little-to-no time for negativity, nor insight into how the character might develop into the older, darker, and more frustrated man we have seen in previous films. King himself has described this film as a companion piece to the Gene Wilder vehicle, which is partially evident. However, how Wonka goes from an excitable, infectious, and sociable young man to a recluse and a raging capitalist (as well as potential child murderer) is not explored in any fashion.

This might be for the best. Wonka is not seeking to stimulate questions for, nor suggest answers to, the mysteries and vagueries of the famous/infamous chocolatier. It simply exists as a joyous, scrumptious, and irrepressible creation. Therefore, my advice is short, sweet, and simple: buy a golden ticket and come with Wonka into its world of imagination.