Average Ratings: 6,9 / 10 Star

release date: 1984

Summary: It is a distant galaxy, in the far future year, 10191. Arrakis is a desert planet and the only source of Melange, a vital drug used by Guild Navigators for space travel from star system to star system. Two families, the Atreides and the Harkonnens, fight one another for sole control of the Melange mining operations on Arrakis. When Duke Leto Atreides is assassinated by the evil Baron Harkonnen, Duke Leto's son, Paul, and Paul's mother, the Lady Jessica, flee deep into the desert of Arrakis. There, they are befriended by the Fremen, natives of Arrakis. Under the influence of Melange, Paul learns he has special powers and, that he can see into the future. Paul unites the Freman under his leadership, forms an army of warriors, and leads them into battle against Baron Harkonnen and the corrupt Padishah Emperor, Shaddam IV, who is in league with the Harkonnens. Paul vows to avenge his father's murder, and sets out to liberate Arrakis and its people from the Emperor's rule, and to fulfill his destiny

David Lynch, Frank Herbert

Genre: Sci-Fi

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Dűne 2020. D c5 b1ne block. In a sense, I looked at David Lynch's adaptation of Dune on the outset for a while like Stanley Kubrick's Spartacus. This is the filmmaker, usually in total control of his work, putting himself out there for an elephantine production early in a career. But in this case, after having seen the film, it's perhaps not totally clear whether or not the director was compromised by either the producer or the studio. If one were to ask also of me to say if it is too long or too short I'd also be hesitant to answer. At two hours and fifteen minutes, the story feels like it's nearly three, but it isn't. This is a credit to what is done visually in the film, but there are problems afoot. Perhaps one of them is that I, unlike a good many who've written on this site about the film, have yet to read one iota of the book(s. So my approach is not really through the vein of Frank Herbert's work but through Lynch who is maybe more of the reason to see the film. As it is, I'm not sure when I'll get a chance to read the book, and frankly on a first impression it's not on a short list of one I'll read anytime too soon.
Because, at least for me, the story (or perhaps, unfortunately to say a part of the storytelling aspect) has a certain glitch to it that reminded me of the Da Vinci Code adaptation, though on a slightly different plane. "Show, don't tell" is usually the policy in writing a screenplay. But unlike that example, Lynch, up for the challenge in and of itself of the 45 million dollar production- relatable to the amount of a summer blockbuster of today- tries to add a novelistic approach to the film without necessarily being true to everything in the source. Impressions of this world are paramount for him. Many of the characters are given voice-overs for their thoughts, as they suspect, decree, wonder, and reveal feelings that could perhaps just be on their faces. And as apart of Lynch's way of abstracting in directing his actors, we're given the impression through out of oppression. All of this works, up to a point. On a first viewing maybe it IS all too much to settle into, as the importance of the little things should add up more than they do. The cast- assembled with many knowable faces in a bizarre and curious stretch from Max von Sydow to Sting to Kyle MacLachlan- do what they can, but only a few really give the goods for what they're worth in the framework of their characters.
This all being said, Dune's met obvious mixed reactions for many years (which have become even more known to me than the novel itself) and its understandable why. This is in one respect an old-fashioned film, with (again with Spartacus) a Roman-epic aspect, where there are thousands of extras, lots and lots of dramatic action, and a story filled with betrayals, a need for a hero to rise up, and even a religious aspect with MacLauchlan's Paul being a 'Messiah' to the world. There are interesting ideas floating afoot, but unfortunately some of it is lost, and maybe more if one's sort of connection to the film gets severed at some point. So, if the storytelling side of things as Lynch in adapting it attempts for one filled with powerful depictions of the forces of good and evil is likely not a success, the side of the visuals usually, for the most part, is. Even when I ironically had only a vague idea of what was going on (perhaps due to an overload of exposition) I couldn't look away from what he, cinematographer Freddie Francis, 2001 production designer Anthony Masters, and even most of Barry Nolan's special effects were doing for the material. Dated in a couple of parts, this is overall another feast for Lynch fans, as certain creations and work on character (i.e. the Baron) are fantastic, there are dream sequences and other things done to enhance the inherent surrealism of all of this dark fantasy.
To put it mildly, Dune is not a very simple film to digest in any denomination. Unlike Star Wars, there aren't any quick starship battles or bits of comic relief. But it does fit into that pantheon of science fiction films that shouldn't be tossed away completely. Here in even one of Lynch's least successful works, maybe his fault in some respects and not in others, there's a lot of brilliant and sensational moments and sights and sounds. There's something striking about how the film is presented, and sometimes how it takes off, that keeps it from not sinking into the otherwise likely situation of an epic running totally off the tracks. And as a general admirer of science fiction the writing that backs up this work from Herbert is not completely lost on me. At least for one thing about the film is certain- this is the only time on celluloid that you'll witness a knife fight between, yes, Sting and Kyle MacLauchlan. In short, DEFINITELY not for everyone. Features also other good actors, by the way, like Brad Douriff, Patrick Stewart and Jose Ferrer.

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He is someone we don’t see happening. Still, Brie Larson’s resume is impressive. The actress has been playing on TV and film sets since she was 11 years old. One of those confused with Swedish player Alicia Vikander (Tomb Raider) won an Oscar in 2016. She was the first Marvel movie star with a female leader. And soon, he will play a CIA agent in a movies commissioned by Apple for his future platform. The movies he produced together.

Unknown to the general public in 2016, this “neighbor girl” won an Academy Award for best actress for her poignant appearance in the “Room”, the true story of a woman who was exiled with her child by predators. He had overtaken Cate Blanchett and Jennifer Lawrence, both of them had run out of statues, but also Charlotte Rampling and Saoirse Ronan.

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