Director: Denis Villeneuve
Starring: Timothée Chalamet, Zendaya, Rebecca Ferguson, Josh Brolin, Austin Butler, Florence Pugh, Dave Bautista, Christopher Walken, Léa Seydoux, Souheila Yacoub, Stellan Skarsgård, Charlotte Rampling, Javier Bardem 
Certificate: 12A
Run Time: 165 mins

Dune: Part Two is the headily awaited second part of Denis Villeneuve’s adaptation of Frank Herbert’s first novel in his sci-fi series. Unlike Alejandro Jodorowsky or David Lynch, Villeneuve proved he could do the impossible – adapt what was regarded as an ‘unfilmable’ novel. Dune won six Oscar’s for his efforts. Dune: Part Two picks up where the previous one left off, with Paul Atreides (Timothee Chalamet) and his mother Jessica (Rebecca Ferguson) settling into life with the Fremen, after House Harkonnen launched a devastating attack on House Atreides. With even stronger reviews than the first, can Dune: Part Two live up to the hype? 

While there’s no doubting the visual flair on display, Dune: Part Two is a mixed bag and not as strong as its predecessor. What really impressed me with Dune was how Villeneuve was able to maintain a clarity to the narrative, the key downfall of Lynch’s film who overstuffed the entire book in a 137 minute film. And while that’s still largely the case here, Dune: Part Two runs into all manner of pacing issues. On the one hand, there’s some good world building for the first hour where ultimately not a lot happens. But then, but the film completely rushes through its climax during its last hour. 

Much has been made of the final battle sequence in this film, with some comparing it to the Battle of Helm’s Deep in Lord of the Rings: The Two Towers. I must have seen a different film because Villeneuve rushes through it, and that costs the film much of its spectacle. 

The rushed pacing also comes at the expense of character development. I simply didn’t buy Paul and Chani’s (Zendaya) blossoming relationship at the very centre of the film – it simply feels like we’re expected to invest in their relationship with no natural development. I wonder if it’s to do with the fact Eric Roth doesn’t write the script this time around, with Villeneuve himself stepping in to co-write with Jon Spaihts. 

With a film this overstuffed, it’s inevitable some of the performances are going to suffer. Although Timothée Chalamet impressed me in the first film, I didn’t think the actor sold the increasing weight his character has to have in this film as he ascends to be a messianic-like figure. While the standout of Dune was Stellan Skarsgård’s Baron Harkonnen, Austin Butler is the highlight, who is tremendous as Feyd-Rautha. The nephew of Skarsgård villain, he isa particularly nasty piece of work and Butler really makes the most of the role, with a sinister personality and a convincing Scandinavian accent to try and match Skarsgård. Speaking of Skarsgard, he’s solid but some of the mystery that surrounded him in the first is now gone and he’s not as effective. 

Two of the performances really didn’t work for me. First is surprisingly Javier Bardem, who almost always elevates a film but he’s unfortunately saddled with some truly trite dialogue. Christopher Walken also doesn’t make the most inspiring choice for the Emperor because he just plays himself. 

The score by Hans Zimmer is pretty atypical of him and whilst it has its moments, it’s not his best work. While Greig Fraser deservedly won an Oscar for his Dune cinematography, because the locations are more limited this time around, it doesn’t feel quite as fresh. However, I loved one action sequence that’s almost made to look like it’s been shot in one take. I also loved the black-and-white imaging of the Harkonnen planet, one of the highlights of the film, as is a gladiatorial fight to the death. 

It’s a shame Dune: Part Two doesn’t live up to the first film with its odd pacing and lack of character development. But it’s still a fun ride, with some above average elements, such as the black-and-white sequence on the Harkonnen planet, Austin Butler’s performance and some exciting action sequences here and there. For a Denis Villeneuve film though, I think it’s his weakest effort and that’s a shame. While Villeneuve’s keen to adapt Dune: Messiah, I really hope he gets off the sci-fi train and does something completely different. Prisoners and Sicario still remain his best works for me, and while his foray into sci-fi has undoubtedly been successful, I want to see him breathe new life into a different genre.