movie reviews of dune 2021

Movie Reviews

Tv/streaming, great movies, chaz's journal, contributors, black writers week.

Now streaming on:

Back in the day, the two big counterculture sci-fi novels were the libertarian-division Stranger in a Strange Land  by Robert Heinlein, which made the word “grok” a thing for many years (not so much anymore; hardly even pops up in crossword puzzles today) and Frank Herbert ’s 1965 Dune , a futuristic geopolitical allegory that was anti-corporate, pro-eco-radicalism, and Islamophilic. Why mega-producers and mega-corporations have been pursuing the ideal film adaptation of this piece of intellectual property for so many decades is a question beyond the purview of this review, but it’s an interesting one.

As a pretentious teenager in the 1970s, I didn’t read much sci-fi, even countercultural sci-fi, so Dune  missed me. When David Lynch ’s 1984 film of the novel, backed by then mega-producer Dino De Laurentiis , came out I didn’t read it either. As a pretentious twentysomething film buff, not yet professional grade, the only thing that mattered to me was that it was a Lynch picture. But for some reason—due diligence, or curiosity about how my life might have been different had I gone with Herbert and Heinlein rather than Nabokov and Genet back in the day—I read Herbert’s book recently. Yeah, the prose is clunky and the dialogue often clunkier, but I liked much of it, particularly the way it threaded its social commentary with enough scenes of action and cliff-hanging suspense to fill an old-time serial.

The new film adaptation of the book, directed by Denis Villeneuve from a script he wrote with Eric Roth and Jon Spaihts , visualizes those scenes magnificently. As many of you are aware, “Dune” is set in the very distant future, in which humanity has evolved in many scientific respects and mutated in a lot of spiritual ones. Wherever Earth was, the people in this scenario aren’t on it, and the imperial family of Atreides is, in a power play we don’t become entirely conversant with for a while, tasked with ruling the desert planet of Arrakis. Which yields something called “the spice”—that’s crude oil for you eco-allegorists in the audience—and presents multivalent perils for off-worlders (that’s Westerners for you geo-political allegorists in the audience).

To say I have not admired Villeneuve’s prior films is something of an understatement. But I can’t deny that he’s made a more-than-satisfactory movie of the book. Or, I should say, two-thirds of the book. (The filmmaker says it’s half but I believe my estimate is correct.) The opening title calls it “Dune Part 1” and while this two-and-a-half hour movie provides a bonafide epic experience, it's not coy about connoting that there’s more to the story. Herbert’s own vision corresponds to Villeneuve’s own storytelling affinities to the extent that he apparently did not feel compelled to graft his own ideas to this work. And while Villeneuve has been and likely remains one of the most humorless filmmakers alive, the novel wasn’t a barrel of laughs either, and it’s salutary that Villeneuve honored the scant light notes in the script, which I suspect came from Roth.

Throughout, the filmmaker, working with amazing technicians including cinematographer Greig Fraser , editor Joe Walker , and production designer Patrice Vermette , manages to walk the thin line between grandeur and pomposity in between such unabashed thrill-generating sequences as the Gom Jabbar test, the spice herder rescue, the thopter-in-a-storm nail-biter, and various sandworm encounters and attacks. If you’re not a “Dune” person these listings sound like gibberish, and you will read other reviews complaining about how hard to follow this is. It’s not, if you pay attention, and the script does a good job with exposition without making it seem like EXPOSITION. Most of the time, anyway. But, by the same token, there may not be any reason for you to be interested in “Dune” if you’re not a science-fiction-movie person anyway. The novel’s influence is huge, particularly with respect to George Lucas . DESERT PLANET, people. The higher mystics in the “Dune” universe have this little thing they call “The Voice” that eventually became “Jedi Mind Tricks.” And so on.

Villeneuve’s massive cast embodies Herbert’s characters, who are generally speaking more archetypes than individuals, very well. Timothée Chalamet leans heavily on callowness in his early portrayal of Paul Atreides, and shakes it off compellingly as his character realizes his power and understands how to Follow His Destiny. Oscar Isaac is noble as Paul’s dad the Duke; Rebecca Ferguson both enigmatic and fierce as Jessica, Paul’s mother. Zendaya is an apt, a better than apt, Chani. In a deviation from Herbert’s novel, the ecologist Kynes is gender-switched, and played with intimidating force by Sharon Duncan-Brewster . And so on.

A little while back, complaining about the Warner Media deal that’s going to put “Dune” on streaming at the same time as it plays theaters, Villeneuve said the movie had been made “as a tribute to the big-screen experience.” At the time, that struck me as a pretty dumb reason to make a movie. Having seen “Dune,” I understand better what he meant, and I kind of approve. The movie is rife with cinematic allusions, mostly to pictures in the tradition of High Cinematic Spectacle. There’s “ Lawrence of Arabia ,” of course, because desert. But there’s also “ Apocalypse Now ” in the scene introducing Stellan Skarsgård ’s bald-as-an-egg Baron Harkonnen. There’s “ 2001: A Space Odyssey .” There are even arguable outliers but undeniable classics such as Hitchcock’s 1957 version of “The Man Who Knew Too Much” and Antonioni’s “Red Desert.” Hans Zimmer ’s let’s-test-those-subwoofers score evokes Christopher Nolan . (His music also nods to Maurice Jarre ’s “Lawrence” score and György Ligeti’s “Atmospheres” from “2001.”) But there are visual echoes of Nolan and of Ridley Scott as well.

These will tickle or infuriate certain cinephiles dependent on their immediate mood or general inclination. I thought them diverting. And they didn’t detract from the movie’s main brief. I’ll always love Lynch’s “Dune,” a severely compromised dream-work that (not surprising given Lynch’s own inclination) had little use for Herbert’s messaging. But Villeneuve’s movie is “Dune.”  

Opens in theaters on October 22nd, available on HBO Max the same day. This review was filed on September 3rd in conjunction with the world premiere at the Venice Film Festival.

Glenn Kenny

Glenn Kenny was the chief film critic of Premiere magazine for almost half of its existence. He has written for a host of other publications and resides in Brooklyn. Read his answers to our Movie Love Questionnaire here .

Now playing

Christy Lemire

Fancy Dance

Jourdain searles.

Inside Out 2

Robert daniels.

Tiger Stripes

Monica castillo.

Brian Tallerico

Reverse the Curse

Film credits.

Dune (2021)

Rated PG-13 for sequences of strong violence, some disturbing images and suggestive material.

155 minutes

Timothée Chalamet as Paul Atreides

Rebecca Ferguson as Lady Jessica

Oscar Isaac as Duke Leto Atreides

Josh Brolin as Gurney Halleck

Zendaya as Chani

Stellan Skarsgård as Baron Vladimir Harkonnen

Dave Bautista as Beast Rabban

Sharon Duncan-Brewster as Liet Kynes

Stephen Henderson as Thufir Hawat

Chang Chen as Dr. Wellington Yueh

David Dastmalchian as Piter De Vries

Charlotte Rampling as Reverend Mother Mohiam

Jason Momoa as Duncan Idaho

Javier Bardem as Stilgar

Golda Rosheuvel as Shadout Mapes

• Denis Villeneuve

Writer (based on the novel written by)

• Frank Herbert
• Jon Spaihts

Cinematographer

• Greig Fraser
• Hans Zimmer

Latest blog posts

The Best Films of 2024 So Far

Apple TV+'s Daring, Unpredictable Sunny is Summer TV Standout

Apple TV+'s Land of Women is Pretty and Pleasant

The Most Intriguing Festival Films Still Seeking U.S. Distribution

The Definitive Voice of Entertainment News

Subscribe for full access to The Hollywood Reporter

site categories

Timothee chalamet in denis villeneuve’s ‘dune’: film review | venice 2021.

Frank Herbert’s 1965 sci-fi classic gets epic screen treatment, with an all-star cast that also features Rebecca Ferguson, Oscar Isaac, Jason Momoa and Zendaya.

By David Rooney

David Rooney

Chief Film Critic

• Share on Facebook
• Share to Flipboard
• Send an Email
• Show additional share options
• Share on LinkedIn
• Share on Pinterest
• Share on Reddit
• Share on Tumblr
• Share on Whats App
• Print the Article
• Post a Comment

Unless you’re sufficiently up on Frank Herbert’s 1965 sci-fi classic to know your Sardaukars from your Bene Gesserit, your crysknife from your hunter-seeker, chances are you’ll be glazing over not too far into Dune . Or wishing that House Atreides and House Harkonnen would kick off a vogue ball.

Related Stories

Zendaya brings her a-list aesthetic to athleisurewear in on's latest summer campaign, keira knightley, cara delevingne among british stars calling for crackdown on industry harassment.

Venue : Venice Film Festival (Out of Competition) Release date : Friday, Oct. 22 Cast : Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgård, Dave Bautista, Zendaya, Jason Momoa Director : Denis Villeneuve Screenwriters : Jon Spaihts, Denis Villeneuve, Eric Roth

Decades after Alejandro Jodorowsky’s aborted 1970s attempt to bring Dune to the screen and David Lynch’s baffling 1984 version — which was memorable mostly for putting Sting in a winged metal diaper — Villeneuve’s film at least gets closer to the elusive goal than its predecessors. It has a reasonable semblance of narrative coherence, even if a glossary would be helpful to keep track of the Imperium’s various planets, dynastic Houses, mystical sects, desert tribes and their respective power players.

What the film doesn’t do is shape Herbert’s intricate world-building into satisfyingly digestible form. The history and complex societal structure that are integral to the author’s vision are condensed into a blur, cramping the mythology. The layers of political, religious, ecological and technological allegory that give the novel such exalted status get mulched in the screenplay by Jon Spaihts, Villeneuve and Eric Roth into an uninvolving trade war, with the blobby Baron Vladimir Harkonnen (Stellan Skarsgard) ordering a genocide to secure a monopoly of the addictive Spice found only in the desert wastelands of the planet Arrakis.

That drug looks like a glitter bomb set off in the sand in the dreamlike visions of Paul Atreides (Chalamet) that punctuate the action with numbing regularity. The mind-expanding substance’s benefits to health, longevity and knowledge place it in high demand, as we learn during an exposition dump disguised as Paul’s study time. Those visions also feature Chani ( Zendaya ), a member of the Fremen civilization that lives on Arrakis; she haunts Paul throughout in a spiritual connection, but doesn’t show up physically until the final scenes, just in time to say, “This is only the beginning.” Never a good sign at the end of a two-and-a-half-hour movie that has long since been sagging under its dense thicket of plot.

It’s the year 10191, and House Harkonnen has been in charge of harvesting Spice for some time, ravaging the land and inflicting cruelty on the Fremen. But the emperor abruptly pulls them out and puts Paul’s father, Duke Leto ( Oscar Isaac ), in control, giving House Atreides exclusive stewardship over Arrakis. Leto and his concubine Jessica ( Rebecca Ferguson ), Paul’s mother, both see the vulnerability in their elevation, even if the Duke hopes to forge an alliance with the Fremen and bring peace. For reasons that the film hurries through with too much haste to clarify, the stage is set for war nonetheless, and Leto calls the reluctant Paul to power as the future of House Atreides.

Part hero’s journey and part survival story, the film keeps throwing arcane details at you, which might thrill the Herbert geeks but will have most everyone else zoning out. Villeneuve is a smart director who honed his chops on brainy sci-fi with Arrival and Blade Runner 2049 . For sheer monolithic scale, visual imagination and visceral soundscape alone, a number of the set pieces are arresting, and the film has the benefit of putting the focus on physical production, with far less CG saturation than most of its recent genre brethren.

There’s much to admire in Patrice Vermette’s production design, particularly the Zen elegance of the aristocratic Atreides household on their beautiful oceanic home planet of Caladan and the Arrakis stronghold Arrakeen, a sprawling structure that combines ancient Egyptian and Aztec influences. The costumes by Jacqueline West and Robert Morgan also are full of eye-catching touches, from the gauzy gowns of Jessica and other women billowing in the desert wind to the utilitarian body-cooling “stillsuit” developed by the Fremen for survival in the desert, equipped with a fluid-recycling system.

On a scene-by-scene basis, Dune is occasionally exciting, notably whenever Atreides swordmaster Duncan Idaho ( Jason Momoa ) is in action, backed by Hans Zimmer’s thundering orchestral score. (Duncan also benefits from being the only guy in this dull old universe with a sense of humor.) But the storytelling lacks the clean lines to make it consistently propulsive. Paradoxically, given its lofty position in the sci-fi canon, much of the narrative’s novelty has also been diluted, rendered stale by decades of imitation. Looking at you, George Lucas.

I found myself less interested in the human ordeals than the tech business — the giant Harkonnen harvesters raking the sands like desert beetles as monstrous sandworms tunnel up to the surface to suck everything into their huge fibrous maws; the wasp-winged choppers known as ornithopters, buzzing through the skies; the stillsuits and the recycling tubes of an emergency tent, turning sweat and tears into drinkable water.

Perhaps the biggest issue with Dune , however, is that this is only the first part, with the second film in preproduction. That means an awful lot of what we’re watching feels like laborious setup for a hopefully more gripping film to come — the boring homework before the juicy stuff starts happening.

Zendaya’s role, in particular, is basically a prelude to a larger arc that Paul has partly foreseen, where he lives among the Fremen as their “Lisan al Gaib,” or off-world prophet, as they plot to take back Arrakis. A quick glimpse of him rodeo-riding a sandworm signals the future extent of his powers. Other actors, like Javier Bardem as proud Fremen chieftain Stilgar, will presumably have more to do, as will good guys like Josh Brolin’s Atreides warmaster Gurney Halleck if part two sticks to Herbert’s plot. On the villainous side, Skarsgard’s levitating lard-ass Baron Harkonnen and his thuggish nephew Beast Rabban (Dave Bautista) seem sure to be back to wreak more destruction.

Whether audiences will choose to return for more after this often ponderous trudge through the desert is an open question.

Full credits

Venue: Venice Film Festival (Out of Competition) Distributor: Warner Bros. Production companies: Warner Bros. Pictures, Legendary Pictures Cast: Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgard, Dave Bautista, Stephen McKinley Henderson, Zendaya, Chang Chen, David Dastmalchian, Sharon Duncan-Brewster, Charlotte Rampling, Jason Momoa, Javier Bardem, Babs Olusankokum, Golda Rosheuvel, Benjamin Clementine Director: Denis Villeneuve Screenwriters: Jon Spaihts, Denis Villeneuve, Eric Roth, based on the novel by Frank Herbert Producers: Mary Parent, Denis Villeneuve, Cale Boyter, Joe Caracciolo Jr. Executive producers: Tanya Lapointe, Joshua Grode, Herbert W. Gains, Jon Spaihts, Thomas Tull, Brian Herbert, Byron Merritt, Kim Herbert Director of photography: Greig Fraser Production designer: Patrice Vermette Costume designer: Jacqueline West, Robert Morgan Editor: Joe Walker Music: Hans Zimmer Visual effects supervisor: Paul Lambert Special effects supervisor: Gerd Nefzer Casting: Francine Maisler, Jina Jay

THR Newsletters

Sign up for THR news straight to your inbox every day

More from The Hollywood Reporter

Box office preview: ‘inside out 2’ to cross $1b as ‘quiet place 3,’ ‘horizon’ hope to bask in june boom, bill cobbs, actor in ‘the hudsucker proxy,’ ‘night at the museum’ and ‘air bud,’ dies at 90, channing tatum didn’t know how to play soccer before ‘she’s the man’, ‘deadpool 3’ was dead in the water. then hugh jackman called ryan reynolds and brought it back to life, ‘downton abbey 3’ sets fall 2025 global release in theaters, hugh bonneville, michael socha, ella bruccoleri starring in ‘go away’ dark comedy (exclusive).

Advertisement

Supported by

Critic’s Pick

‘Dune’ Review: A Hero in the Making, on Shifting Sands

Denis Villeneuve’s adaptation is an equally sweeping and intimate take on Frank Herbert’s future-shock epic.

• Share full article

‘Dune’ | Anatomy of a Scene

The director denis villeneuve narrates a combat training sequence from his film, featuring timothée chalamet and josh brolin..

My name is Denis Villeneuve and I’m the director of Dune. “Don’t stand with your back to the door!” This scene needed to serve four purposes. First, to establish the nature of the relationship between Paul Atreides and Gurney Halleck. Two, to give more insight about the context in which the Atreides will move to a new planet named Arrakis. Three, to induce the idea that Paul Atreides has been training for combat, but has never really experienced real violence. And four, to introduce the concept of the Holtzman Shields, and how they change the essence of combat. An Holtzman Shield is a technology that protects individuals or vehicles from any fast objects. Therefore, bullets or rockets are obsolete. So it means that man to man combat came back to sword fighting. The choreography between Timothée Chalamet, who plays Paul, and Josh Brolin, who plays Gurney Halleck, illustrate that each opponent is trying to distract his adversary by doing very fast moves in order to create an opportunity to insert slowly a blade inside the opponent’s shield. “Guess I’m not in the mood today.” “Mood?” “Mm.” “What’s mood to do with it? You fight when the necessity arises, no matter the mood. Now fight!” That choreography was designed by Roger Yuan. He developed the Atreides fighting style borrowing from a martial art technique developed in the ‘50s. This technique was called balintawak eskrima. It’s a style that involves blocking the opponent’s attack with both a weapon and the free hand. “I have you.” “Aye. But look down, my Lord. You’d have joined me in death. I see you found the mood.” Cinematographer Greig Fraser and I shot the fight like we will shoot a dance performance. The goal was to embrace the complexity of the movements with objective camera angles. We tried to make sure that the audience will understand the nature of this new way of fighting. “You don’t really understand the grave nature of what’s happening to us.” But more importantly, I wanted to feel that Josh Brolin’s character was caring about Paul like if he was his own son. “Can you imagine the wealth? In your eyes— I need to see it in your eyes. You never met Harkonnens before. I have. They’re not human. They’re brutal! You have to be ready.”

By Manohla Dargis

In a galaxy far, far away, a young man in a sea of sand faces a foreboding destiny. The threat of war hangs in the air. At the brink of a crisis, he navigates a feudalistic world with an evil emperor, noble houses and subjugated peoples, a tale right out of mythology and right at home in George Lucas’s brainpan. But this is “ Dune ,” baby, Frank Herbert’s science-fiction opus, which is making another run at global box-office domination even as it heads toward controversy about what it and its messianic protagonist signify.

The movie is a herculean endeavor from the director Denis Villeneuve (“Arrival”), a starry, sumptuous take on the novel’s first half. Published in 1965, Herbert’s book is a beautiful behemoth (my copy runs almost 900 pages) crowded with rulers and rebels, witches and warriors. Herbert had a lot to say — about religion, ecology, the fate of humanity — and drew from an astonishment of sources, from Greek mythology to Indigenous cultures. Inspired by government efforts to keep sand dunes at bay, he dreamed up a desert planet where water was the new petroleum. The result is a future-shock epic that reads like a cautionary tale for our environmentally ravaged world.

Villeneuve likes to work on a large scale, but has a miniaturist’s attention to fine-grained detail, which fits for a story as equally sweeping and intricate as “ Dune .” Like the novel, the movie is set thousands of years in the future and centers on Paul Atreides (Timothée Chalamet), the scion of a noble family. With his father, Duke Leto (Oscar Isaac), and his mother, Lady Jessica (Rebecca Ferguson), Paul is about to depart for his new home on a desert planet called Arrakis, a.k.a. Dune . The Duke, on orders from the Emperor, is to take charge of the planet, which is home to monstrous sandworms, enigmatic Bedouin-like inhabitants and an addictive, highly valuable resource called spice.

Much ensues. There are complicated intrigues along with sword fights, heroic deaths and many inserts of a mystery woman (Zendaya) throwing come-hither glances at the camera, a Malickian vision in flowing robes and liquid slow motion. She’s one piece of the multifaceted puzzle of Paul’s destiny, as is a mystical sisterhood (led by Charlotte Rampling in severe mistress mode) of psychic power brokers who share a collective consciousness. They’re playing the long game while the story’s most flamboyant villain, the Baron (Stellan Skarsgard), schemes and slays, floating above terrified minions and enemies like a Macy’s Thanksgiving Day balloon devised by Clive Barker.

The movie leans on a lot of exposition, partly to help guide viewers through the story’s denser thickets, but Villeneuve also uses his visuals to advance and clarify the narrative. The designs and textures of the movie’s various worlds and their inhabitants are arresting, filigreed and meaningful, with characters and their environments in sync. At times, though, Villeneuve lingers too long over his creations, as if he wanted you to check out his cool new line of dragonfly-style choppers and bleeding corpses. (This isn’t a funny movie but there are mordantly humorous flourishes, notably with the Baron, whose bald head and oily bath indicate that Villeneuve is a fan of “Apocalypse Now.”)

We are having trouble retrieving the article content.

Please enable JavaScript in your browser settings.

Thank you for your patience while we verify access. If you are in Reader mode please exit and  log into  your Times account, or  subscribe  for all of The Times.

Thank you for your patience while we verify access.

Already a subscriber?  Log in .

Want all of The Times?  Subscribe .

Log in or sign up for Rotten Tomatoes

Trouble logging in?

By continuing, you agree to the Privacy Policy and the Terms and Policies , and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes.

Email not verified

Let's keep in touch.

Sign up for the Rotten Tomatoes newsletter to get weekly updates on:

• Upcoming Movies and TV shows
• Trivia & Rotten Tomatoes Podcast
• Media News + More

By clicking "Sign Me Up," you are agreeing to receive occasional emails and communications from Fandango Media (Fandango, Vudu, and Rotten Tomatoes) and consenting to Fandango's Privacy Policy and Terms and Policies . Please allow 10 business days for your account to reflect your preferences.

OK, got it!

Movies / TV

No results found.

• What's the Tomatometer®?
• Login/signup

Movies in theaters

• Opening this week
• Top box office
• Coming soon to theaters
• Certified fresh movies

Movies at home

• Fandango at Home
• Netflix streaming
• Prime Video
• Most popular streaming movies
• What to Watch New

Certified fresh picks

• Inside Out 2 Link to Inside Out 2
• The Bikeriders Link to The Bikeriders
• Fancy Dance Link to Fancy Dance

New TV Tonight

• The Bear: Season 3
• My Lady Jane: Season 1
• Land of Women: Season 1
• Orphan Black: Echoes: Season 1
• That '90s Show: Season 2
• Savage Beauty: Season 2
• WondLa: Season 1
• Zombies: The Re-Animated Series: Season 1

Most Popular TV on RT

• Star Wars: The Acolyte: Season 1
• The Boys: Season 4
• House of the Dragon: Season 2
• Presumed Innocent: Season 1
• Dark Matter: Season 1
• Eric: Season 1
• Evil: Season 4
• Best TV Shows
• Most Popular TV
• TV & Streaming News

Certified fresh pick

• House of the Dragon: Season 2 Link to House of the Dragon: Season 2
• All-Time Lists
• Binge Guide
• Comics on TV
• Five Favorite Films
• Video Interviews
• Weekend Box Office
• Weekly Ketchup
• What to Watch

Best Movies of 2024: Best New Movies to Watch Now

25 Most Popular TV Shows Right Now: What to Watch on Streaming

What to Watch: In Theaters and On Streaming

What to Expect from The Bear : Season 3

MaXXXine First Reviews: A Gnarly, Potent Satire with a Magnetic Mia Goth at Her Best

• Trending on RT
• 2024's Best Movies
• Most Popular Shows
• July's Anticipated Movies
• Horizon: An American Saga

Dune Reviews

While Villeneuve's version makes more of an effort than Lynch's to explore some of Dune's meatier themes, like colonization, it fails to nail the environmental ideas.

Full Review | Original Score: B+ | Jun 3, 2024

Villeneuve’s “Dune” is the cinematic equivalent of a meditation garden: gorgeous to watch with its characters’ polished skin, smooth stonelike spaceships, sand enveloped landscapes, sunlight

Full Review | Mar 24, 2024

It would be enough of a cinematic experience with just the visuals, but the technical elements within the sound are award-worthy.

Full Review | Original Score: A+ | Mar 1, 2024

Few movies showcase this scale, and once again, Villeneuve proves himself one of the best filmmakers alive. However, some early pacing issues and the two-part nature make Dune feel somewhat incomplete.

Full Review | Original Score: 8/10 | Mar 1, 2024

Dune’s first half lived up to the hype as a mix of political intrigue, sci-fi storytelling and a large selection of really interesting characters, all with great visuals and sound design to match.

Full Review | Original Score: 5/5 | Feb 26, 2024

There are even moments that surpass the novel, especially the relationship between Leto and Paul, mainly due to a heartfelt speech from Oscar Isaac...

Full Review | Feb 24, 2024

Director Denis Villeneuve never misses and succeeds again in this adaptation with incredible performances especially from Timothee Chalamet and Rebecca Ferguson.

Full Review | Original Score: 5/5 | Oct 11, 2023

The end result is a movie worthy of the source material.

Full Review | Original Score: 3.5/4 | Aug 10, 2023

an incredibly well-crafted adaptation that's faithful to the source material while also breathing new life into it, and an immersive, epic cinematic journey that will absolutely leave you aching for more.

Full Review | Original Score: 4/5 | Aug 8, 2023

Villeneuve’s Dune: Part One is a worthy addition to the collection, besting the Lynch film in certain ways but still flummoxed and frustrated by the source material’s conversation-heavy downside.

Full Review | Jul 28, 2023

Dune is a masterful sci-fi blockbuster that is going to please the majority of its audience. The visuals are crying out to be seen on the biggest screen possible, easily becoming the movies standout.

Full Review | Original Score: 4/5 | Jul 27, 2023

A true cinematic treasure that will be cherished for decades to come & gave me the same feeling that I got watching A New Hope for the first time. This is Epic to the highest of standards & I need more right now.

Full Review | Original Score: A+ | Jul 26, 2023

The talented cast is in service of spectacle, doing little more than providing the expositional sutures that connect one elaborate set piece to the next.

Full Review | Jul 26, 2023

Dune sets the new standard for epic cinema with eyegamic visuals, powerful sound design and score, and a compelling story surrounded by an absolutely massive scale. Denis Villeneuve adds yet another audiovisual masterpiece to his filmography.

Full Review | Original Score: A- | Jul 25, 2023

Dune is so engaged in getting the plot right and building an appropriate world that it doesn’t have time to let its characters bond or develop a real connection.

Full Review | Jul 24, 2023

Villeneuve can build spectacle and innovative tales because we have seen him do it before, but his rendition of Dune isn’t one of them.

Full Review | Original Score: C | Jul 21, 2023

Laced with complex politics, interesting themes on religion, gender, imperialism, and environmentalism; this has just about everything a fantasy/sci-fi fan could want.

Full Review | Jul 19, 2023

Denis Villeneuve’s Dune is simply epic in every sense of the word, from the acting and action sequences, to the score from Oscar-winning composer Hans Zimmer. The grandeur of the film is accentuated by captivating shots and landscapes

Trust me, on the big screen, the blue is blue enough to bring the intensity when needed...

Full Review | Apr 5, 2023

Dune is a true masterpiece. I can’t wait to see how this duology ends, and if Denis Villeneuve sticks the landing, this may be the best science fiction movie of all time.

Full Review | Feb 10, 2023

• Cast & crew
• User reviews

A noble family becomes embroiled in a war for control over the galaxy's most valuable asset while its heir becomes troubled by visions of a dark future. A noble family becomes embroiled in a war for control over the galaxy's most valuable asset while its heir becomes troubled by visions of a dark future. A noble family becomes embroiled in a war for control over the galaxy's most valuable asset while its heir becomes troubled by visions of a dark future.

• Denis Villeneuve
• Jon Spaihts
• Timothée Chalamet
• Rebecca Ferguson
• 5.9K User reviews
• 542 Critic reviews
• 74 Metascore
• 174 wins & 294 nominations total

Photos 1348

• Paul Atreides

• Lady Jessica Atreides

• Duke Leto Atreides

• Duncan Idaho

• Baron Vladimir Harkonnen

• Thufir Hawat

• Gurney Halleck

• Dr. Liet Kynes

• Dr. Wellington Yueh

• Glossu Rabban Harkonnen

• Piter de Vries

• Reverend Mother Mohiam

• Herald of the Change
• (as Benjamin Clementine)

• Bene Gesserit Sister

• Shadout Mapes
• All cast & crew
• Production, box office & more at IMDbPro

More like this

Did you know

• Trivia David Lynch , director of the previous Dune (1984) , stated that he has "zero interest" in the new movie. He cited that his issues have nothing to do with director Denis Villeneuve but with his own painful memories of making the 1984 version: "Because it was a heartache for me. It was a failure and I didn't have final cut. I've told this story a billion times. It's not the film I wanted to make. I like certain parts of it very much - but it was a total failure for me."
• Goofs Despite several mentions of the intensity of the sun on Arrakis, no character ever wears any eye protection.

Lady Jessica Atreides : I must not fear. Fear is the mind-killer. Fear is the little death that brings obliteration. I will face my fear and I will permit it to pass over me and through me. And when it has gone past... I will turn the inner eye to see its path. Where the fear has gone there will be nothing. Only I will remain.

• Crazy credits At the start of the film, a Sardaukar priest chants "Dreams are messages from the deep" as a prologue as it is subtitled onscreen.
• Connections Featured in Black and White Sports Too: Dune Trailer Reaction! Official 2020 - Oscar Isaac, Jason Momoa, Josh Brolin (2020)
• Soundtracks Tooth of Shai Hulud Performed by Czarina Russell Written and Produced by Theo Green

User reviews 5.9K

• Brukernavn03
• Sep 14, 2021
• How long is Dune? Powered by Alexa
• Who is playing Feyd?
• Is this based on a novel?
• Will there be any reference to Omnius and Erasmus?
• October 22, 2021 (United States)
• United States
• Official site
• Official Site (Japan)
• Hành Tinh Cát
• Wadi Rum, Jordan (Arrakis desert)
• Warner Bros.
• Legendary Entertainment
• Villeneuve Films
• See more company credits at IMDbPro
• $165,000,000 (estimated)
• $108,897,830
• $41,011,174
• Oct 24, 2021
• $407,573,628

Technical specs

• Runtime 2 hours 35 minutes
• Dolby Surround 7.1
• Dolby Atmos
• Dolby Digital
• IMAX 6-Track

Related news

Contribute to this page.

• IMDb Answers: Help fill gaps in our data
• Learn more about contributing

More to explore

Recently viewed.

‘Dune’ Review: Spectacular and Engrossing…Until It Isn’t

Denis Villeneuve's adaptation has a majestic vastness, and most of it actually makes sense, but it's an act of world-building that runs out of storytelling steam.

By Owen Gleiberman

Owen Gleiberman

Chief Film Critic

• ‘Maxxxine’ Review: Mia Goth Fights the Hollywood Power in Ti West’s Retro- ’80s Schlock Sex-and-Horror Thriller. It’s Fun at Times, but It’s No ‘Pearl’ 11 hours ago
• Remembering Donald Sutherland: From Cool in ‘MASH’ to Sexy in ‘Don’t Look Now’ to Tragic in ‘Ordinary People,’ He Was a Chameleon, and the Most Human of Movie Stars 6 days ago
• ‘The Exorcism’ Review: Russell Crowe Plays a Fallen Movie Star Playing a Priest in an Exorcist Movie. Is This the Sign of a Career Gone to Hell? 6 days ago

In “ Dune ,” Denis Villeneuve ’s droolingly anticipated, eye-bogglingly vast adaptation of Frank Herbert’s 1965 cult sci-fi novel, the characters fly around in airplanes that have three sets of wings, all of which flap very fast. The planes look like insects, and the film suggests that’s one way that a flying machine, in another planetary sphere, might have evolved. On Earth, we styled our airplanes after birds. In “Dune,” they’re modeled on bugs, which gives them a fluttery malevolence.

“Dune,” a majestically somber and grand-scale sci-fi trance-out, is full of lavish hugger-mugger — clan wars, brute armies, a grotesque autocrat villain, a hero who may be the Messiah — that links it, in spirit and design, to the “Star Wars” and “Lord of the Rings” films, though with a predatory ominousness all its own. The desert-planet architecture, which is bigger than huge, is sandstone Mayan. The spaceships are like floating rocks the size of cities. And the cinematic style is “Lawrence of Arabia” meets “Triumph of the Will” meets the most visionary cologne commercial that Ridley Scott never made. (The movie is more than a little enthralled with the clockwork imagery of fascism.) “Dune” is out to wow us, and sometimes succeeds, but it also wants to get under your skin like a hypnotically toxic mosquito. It does…until it doesn’t.

Related Stories

What media & entertainment execs are saying about using gen ai: the vip+/harrisx spring 2024 survey, netflix top 10: 'baby reindeer' becomes no. 10 biggest english-language series ever, 'under paris' scores massive debut, popular on variety.

Here’s one useful definition of a great sci-fi fantasy film. It’s one in which the world-building is awesome but not more essential than the storytelling. In the first two “Star Wars” films, those dynamics were in perfect sync; they were, as well, in “The Dark Knight” and the “Mad Max” films. “Blade Runner,” in its way, is an amazing movie, but its world-building packs more punch than its transcendental neo-noir noodlings.

Viewed in that light, “Dune” is a movie that earns five stars for world-building and about two-and-a-half for storytelling. If you stack it up next to David Lynch’s disastrously confounding 1984 adaptation of “Dune,” it can look like a masterpiece. (Most of the story now makes sense.) And for an hour or so, the movie is rather mesmerizing, throwing off seductive glints of treachery as it presents the tale of Paul Atreides (Timothée Chalamet), the gifted scion of the House Atreides, whose father, Duke Leto Atreides (Oscar Isaac), is leading what looks to be an opportunity, though one that’s fraught with peril.

For 80 years, the forbidding desert planet of Arrakis has been presided over by the Harkonnen, who ruled with an iron fist as they controlled production of the valuable spice that’s embedded in the sand and the air. (In the book, the spice, called mélange, is a metaphor for oil and also for drugs. Here it’s a glittery abstraction.) Now, the emperor has ordered the Harkonnen to leave Arrakis and has placed the House Atreides in charge. They arrive like a newly occupying army. But they’re being set up as patsies.

Villeneuve works hard to to stay true to the conspiratorial sprawl of Herbert’s sand-planet dream, even as he streamlines the book down to its most playable scenes. Chalamet, tall and skinny, with a quizzical innocence under his cloud of curls, resembles a willowy version of Edward Scissorhands, and he plays Paul as an untested hero with abilities he scarcely understands. They’re inherited from his mother, Lady Jessica (Rebecca Ferguson), an acolyte of the mystic matriarchal sect the Bene Gesserit, who wants to put him in touch with his inner cosmic savior.

There are good scenes like one in which Paul learns to speak to his mother telepathically; or receives a lesson from Isaac’s warmly protective but all-too-vulnerable Leto, who speaks to him about the human choices encoded within destiny; or gets put through a primal test by his aunt, Gaius Helen Mohiam (Charlotte Rampling) — those names! Yes, they’re as annoying as the ones in the George Lucas prequels — who asks him to place his hand in a box of pain and withstand it. (He’d better; if he fails, she’ll stab his neck with a lethal needle.) Stellan Skarsgård, nearly unrecognizable as Baron Vladimir Harkonnen, who’s like a floating homicidal Jabba the Hutt crossed with Henry VIII crossed with Fat Bastard, sets the plot in motion, reclaiming Arrakis by trying to kill off just about everyone in the movie who most holds our attention.

His success rate is a bit disarming. The hand-to-hand combat scenes in “Dune” have a flash of originality. Instead of lightsabers, the characters hit each with other weapons that reduce their bodies to electromagnetic freeze frames. It’s exciting to see Duncan Idaho, played by Jason Momoa as the film’s sexy-loyal-bruiser Han Solo figure, take on a small army of enemies.

Yet where is all of this going? “Dune” keeps foreshadowing the moment when Paul will embed himself with the Fremen, the indigenous desert people of Arrakis who have a more organic relationship to the perilous landscape, and to the spice, than any of their rulers, but live in a state of ragged guerrilla oppression. They’re waiting for someone to liberate them, and Paul would seem to be that figure, since it’s prophesied by half a dozen interchangeable flash-forwards to his interface with Chani ( Zendaya ), a Fremen warrior-protector who is shot like some sort of desert princess.

“Dune” opens with a title that reads “Dune Part I,” and there’s a standard but rather presumptuous promise embedded in those words: that after 2 hours and 35 minutes, we’ll be so hooked by this saga that we’ll be hungry for Part II. That, in a way, is the promise of every franchise. But the trouble with “Dune” is that it feels, at different points, like just about every other franchise. Over the decades, more than a few movies have been sprung from the DNA of Herbert’s universe, like (for instance) the opening act of “Star Wars.” And there’s a reason it’s that film’s first part; the desert is an awfully barren setting for sci-fi. (“Star Wars” starts slow and arid on purpose, all to set up the revelation of its kinetic second half.) “Dune” is rich with “themes” and visual motifs, but it turns into a movie about Chalamet’s Paul piloting through sandstorms and hooking up with the rebels of the desert, who in this movie are a lot more noble than interesting.

It’s not just that the story loses its pulse. It loses any sense that we’re emotionally invested in it. The giant sandworms, who are protectors of the spice and burrow through the desert like a sinister underground tornado until they reveal themselves (they’re like monster nostrils that suck in everything in front of them), are good for a moment or two of old-fashioned creature-feature awe, but what, really, do they have to do with anything? “Dune” makes the worms, the dunes, the paramilitary spectacle, and the kid-savior-tests-his-mettle plot immersive — for a while. But then, as the movie begins to run out of tricks, it turns woozy and amorphous. Will Part II really be coming? It will if Part I is successful enough, and that isn’t foregone. It’s hard to build a cliffhanger on shifting sands.

Reviewed at Venice Film Festival (Out of Competition), Sept. 3, 2021. MPAA Rating: PG-13. Running time: 155 MIN.

• Production: A Warner Bros. Pictures release of a Legendary Pictures, Villeneuve Films, Warner Bros. production. Producers: Denis Villeneuve, Mary Parent, Cale Boyter, Joe Caracciolo Jr. Executive producers: Herbert W. Gains, Joshua Grode, John Harrison, Brian Herbert, Kim Herbert, Tanya Lapointe, Byron Merritt, Richard P. Rubenstein, Jon Spaihts, Thomas Tull.
• Crew: Director: Denis Villeneuve. Screenplay: Jon Spaihts, Denis Villeneuve, Eric Roth. Camera: Greig Fraser. Editor: Joe Walker. Music: Hans Zimmer.
• With: Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgård, Jason Momoa, Zendaya, Charlotte Rampling, Dave Bautista, Javier Bardem, Sharon Duncan Brewster, Stephen McKinley Henderson, Chang Chen, David Dastmalchian.

More from Variety

Adam levine, kelsea ballerini join ‘the voice’ as season 27 coaches, ame institute to host “state of the creative industries” panel, sponsored by variety vip+, why long-form tiktok videos make perfect sense, more from our brands, nick carter rape accuser blasts his ‘stalling tactics,’ cites new allegation, onerepublic’s zach filkins lists revamped colonial home in illinois for $3.75 million, paris 2024 olympics ratings will be unprecedented. literally, the best loofahs and body scrubbers, according to dermatologists, tvline items: toby keith tribute, bluey minisodes trailer and more, verify it's you, please log in.

Review: Denis Villeneuve’s ‘Dune’ is a transporting vision, but it could use a touch more madness

• Copy Link URL Copied!

The Times is committed to reviewing theatrical film releases during the COVID-19 pandemic . Because moviegoing carries risks during this time, we remind readers to follow health and safety guidelines as outlined by the Centers for Disease Control and Prevention and local health officials .

The story in “Dune” is set in motion by an ambitious, unwieldy and ill-advised transfer of power — an undertaking that extracts a terrible cost and seems doomed to end in frustration and defeat. Something similar might be said of the previous major attempts to wrest Frank Herbert’s 1965 literary colossus to the big screen, even if recent history has sometimes looked back on those failures with a forgiving smile. Alejandro Jodorowsky’s assuredly trippy, never-completed version has become a much-mythologized cinematic ruin . David Lynch’s 1984 flop, reviled by many (including Lynch himself), can still inspire spasms of admiration for its mix of narrative intransigence and visionary strangeness.

Still, to the extent that “Dune” endures, it does so on the strengths of Herbert’s extraordinarily prescient work — its echoes of a real world ravaged by oil wars, climate change and other consequences of human greed — rather than anything to do with its dubious cinematic legacy. Not least among the book’s mysteries is that it has shaped the iconography of so many classic science-fiction and fantasy films — most obviously, though not exclusively, “Star Wars” — without yielding a classic of its own. Conventional wisdom has long held that “Dune” is unfilmable , that its interlocking parables of colonial oppression, ecological disaster and messianic deliverance are too vast to be contained within the flattening parameters of the cinema screen.

The magisterially brooding new “Dune,” just unveiled at the Venice International Film Festival and slated to reach U.S. theaters and HBO Max subscribers Oct. 22, boldly seeks to reverse that prophecy. With methodical poise and seat-rattling spectacle, the French Canadian filmmaker Denis Villeneuve (who wrote the script with Jon Spaihts and Eric Roth) draws you into an astonishingly vivid, sometimes plausibly unnerving vision of the future. If those cursed earlier stabs at “Dune” were examples of what the French call a “film maudit,” this imposing new vision aspires to be the opposite: perhaps a “film Mahdi,” to reference the Arabic word often hurled at the young savior-to-be, Paul Atreides (Timothée Chalamet), as he embraces his destiny.

‘Dune: Part One’ ending explained: Where could a sequel go from here?

The new film “Dune” ends on a cliffhanger. With the second half of Frank Herbert’s classic story still to tell — not to mention all its sequels and prequels — where will the “Dune” universe go from here?

Oct. 24, 2021

The fulfillment of that destiny will have to wait; “Dune: Part One,” as it’s billed onscreen, is the first in a projected two-part adaptation, which means that any assessment of Villeneuve’s achievement must be provisional at best. For now, it’s hard to deny the excitement of feeling swept up in this movie’s great squalls of sand, spice and interplanetary intrigue, realized with a level of craft so overpowering in its dust-choked aridity that you may want to pull your mask up a little tighter in the theater. You may also feel a more qualified sense of admiration for Villeneuve’s efforts to preserve yet streamline the novel’s imaginative essence, to translate Herbert’s heady conceits and arcane nomenclature into a prestige blockbuster idiom.

Whether he succeeds — and for an impressive stretch, I think he does — his own meteoric Hollywood ascent has clearly prepared him for the assignment. This isn’t the first time Villeneuve has evinced a superb eye for the textural and chromatic nuances of sand, as the Mideast deserts of “Incendies,” the U.S.-Mexico border zones of “Sicario” and the Las Vegas ruins of “Blade Runner 2049” will attest. And like “Blade Runner 2049” and especially “Arrival,” “Dune” is an unusually philosophical speculative fiction that ponders the difficulties of language and coexistence.

As the movie opens, a superficial detente has been orchestrated between the warring royal strongholds of Atreides and Harkonnen, led respectively by the noble Duke Leto Atreides (Oscar Isaac) and the grotesque Baron Vladimir Harkonnen (a prosthetically transfigured Stellan Skarsgard). “Dune” heads will know the rest: By imperial decree, House Harkonnen must relinquish stewardship of the desert planet Arrakis, a.k.a. Dune, which is at once inhospitable to life and a much-coveted source of it. House Atreides will assume control of the planet as well as its rich concentrations of spice, a drug-like substance whose life-extending properties have made it the most prized commodity in the universe.

‘Dune’ was long considered ‘unadaptable.’ The screenwriters explain how they tackled the sci-fi classic

Heralded as the best sci-fi novel of all time, previous adaptations of Frank Herbert’s ‘Dune’ have fizzled. Now it’s Denis Villeneuve’s turn.

Aug. 24, 2021

Notably, these narrative preliminaries are laid out by Chani (Zendaya), one of the Fremen, the thick-skinned, blue-eyed Indigenous people of Arrakis. Long acclimated to the planet’s sweltering heat and deadly giant sandworms, they’ve suffered bitterly under their cruel Harkonnen overlords and have no reason to suspect the Atreides will be any different. Villeneuve’s sympathetic focus on the Fremen feels like an early declaration of principle, a promise that this “Dune” might radically reframe the story from their perspective. For much of the movie, though, Chani and her people remain fleeting presences, glimpsed only in the gauzy visions of Duke Leto’s son, Paul.

Chalamet, always good at suggesting both youthful callowness and limitless potential, proves an inspired choice for the role of a young man who is both a coddled heir and an intriguingly unknown quantity. On the Atreides’ home planet of Caladan, he is trained with avuncular affection by his father’s retainers, including the brilliant security expert Thufir Hawat (Stephen McKinley Henderson), the brawny swordmaster Duncan Idaho (Jason Momoa) and the skilled weapons teacher Gurney Halleck (Josh Brolin, not exactly the “ugly lump of a man” described in the book). Paul is also a source of pride and anxiety for the Duke, movingly played by Isaac as a leader who longs to do right by his family, his people and the Fremen, even as he suspects that House Atreides might be stepping into a carefully laid trap.

But Paul’s most important mentor is his mother, Lady Jessica (a superb Rebecca Ferguson), a member of a shadowy, oracular sisterhood known as the Bene Gesserit for whom Paul poses both a problem and a source of fascination. Led by an imperious Reverend Mother (a heavily veiled but unmistakable Charlotte Rampling), the Bene Gesserit are versed in many skills including “the Voice,” a form of mind control rendered here via menacing aural distortions that — along with the soundtrack’s low, ominous rumbles and Hans Zimmer’s pulsating score — make “Dune” a symphony for the ears as well as a feast for the eyes.

It is, admittedly, a rather monochromal feast, dryer than it is rich, notwithstanding a luscious early shot of the Arrakis dunes that brings to mind the crisped swirls of an overbaked meringue. Much of the palace intrigue plays out in muted tones and symmetrical compositions (the cinematography is by the great Greig Fraser), part of a rigorously color-controlled aesthetic that extends to Patrice Vermette’s futuro-brutalist production design and Jacqueline West’s slickly utilitarian costumes. A cold, fascist sheen seems to cling to the Atreides’ regal formations and their state-of-the-art ornithopters (like helicopters, but with blades that flutter like insect wings), all flawless design elements in a pageant of technological might and militaristic order.

Villeneuve means to subvert and disrupt that pageant, something he accomplishes in part by consciously elevating the women in this male-dominated story. Ferguson’s forceful presence in the expanded role of Lady Jessica is one example; another is the gender recasting of Liet Kynes (a striking Sharon Duncan-Brewster), Arrakis’ deeply knowledgeable planetologist. It’s Kynes who helps the Atreides adjust to their desert environs, at one point accompanying them to a spice-harvesting site where they get their terrifying first glimpse of a giant sandworm in action, its great maw swirling open like a raging quicksand vortex.

This action sequence and others are handled with masterly assurance, including several scenes of intimate combat performed with form-fitting, blood-concealing energy shields. But as ever, Villeneuve’s true talent is less in the staging of violence than in the queasy anticipation of it; he loves to linger in the looming threat of mayhem, in the tense moments before the (sand)worm turns. That gift serves him well enough in “Dune,” whose plot hinges on encroaching threats, assassination attempts and a series of devastating betrayals that send Paul and Lady Jessica fleeing into the desert where there await still more perils, possibilities and encounters with the Fremen (led by a sly Javier Bardem).

Why ‘Dune’ made these 5 key changes from Frank Herbert’s book

“Dune” director Denis Villeneuve discusses several significant departures from the sci-fi classic source material.

Oct. 21, 2021

Until the movie slams to an abrupt, unsatisfying halt halfway through the events of Herbert’s novel, there’s pleasure in watching this particular game of thrones play out, though perhaps more pleasure than depth or meaning. To call this “Dune” a remarkably lucid work is to praise it with very faint damnation. Perhaps reluctant to alienate the novices in the audience, Villeneuve has ironed out many of the novel’s convolutions, to the likely benefit of comprehension but at the expense of some rich, imaginative excess. Herbert’s more memorable flights of linguistic fancy, like “gom jabbar” and “Kwisatz Haderach,” are spoken once, with a faint air of embarrassed obligation, and seldom mentioned again. A more significant casualty is the book’s layered interiority, its skill at turning unspoken perceptions and motives into drama; the writers have managed this material without mastering it.

Lynch’s compromised version was similarly stymied and more clotted with exposition. But it also had the courage of its demented convictions, as well as a fearless commitment to feverish, pustular imagery that makes Villeneuve’s pristine filmmaking seem almost timid by comparison. Not for the first time, his craft seems to exist mainly for its own sake; it’s the hallmark of a filmmaker who’s more logistician than thinker, more technician than artist. As a visual and visceral experience, “Dune” is undeniably transporting. As a spectacle for the mind and heart, it never quite leaves Earth behind.

And perhaps that’s as it should be, at least at this early stage. With any luck, there will be more to see and much more to think about in “Dune: Part Two,” the completion of which will depend to some degree on this first movie’s fortunes. Will “Dune” conjure enough coin — the spice of the Hollywood realm — to see itself through to completion? I suspect it might, in part because I doubt Villeneuve, a filmmaker more dependable than he is interesting, has it in him to add to “Dune’s” string of memorably catastrophic failures. Dust has long been his truest cinematic habitat, and to dust may he return.

‘Dune: Part One’

Rated: PG-13, for sequences of strong violence, some disturbing images and suggestive material Running time: 2 hours, 35 minutes Playing: Starts Oct. 22 in general release and on HBO Max

Fall Preview

Why televangelist Tammy Faye Bakker was the hardest role of Jessica Chastain’s career

How the ‘Sopranos’ prequel reimagines some of your favorite characters — and introduces new ones

More to read.

The 2024 box office is terrible. But Imax’s big-screen appeal is a bright spot

May 24, 2024

Column: In Lady Jessica, ‘Dune’ created an all-time movie mom. Then ‘Part Two’ ruined her

March 5, 2024

‘Dune 2’ spices up the box office after a months-long dry spell

March 3, 2024

Only good movies

Get the Indie Focus newsletter, Mark Olsen's weekly guide to the world of cinema.

You may occasionally receive promotional content from the Los Angeles Times.

Justin Chang was a film critic for the Los Angeles Times from 2016 to 2024. He won the 2024 Pulitzer Prize in criticism for work published in 2023. Chang is the author of the book “FilmCraft: Editing” and serves as chair of the National Society of Film Critics and secretary of the Los Angeles Film Critics Assn.

More From the Los Angeles Times

‘Kinds of Kindness’ star Jesse Plemons opens up about losing weight and that ‘Civil War’ cameo

June 13, 2024

Cannes festival reportedly sued by model who alleges assault by guard on red carpet

May 31, 2024

Sean Baker’s ‘Anora’ wins Palme d’Or at Cannes Film Festival

May 25, 2024

The six best movies we saw at the 2024 Cannes Film Festival

• Search Please fill out this field.
• Newsletters
• Sweepstakes
• Movie Reviews

Dune review: Denis Villeneuve's starry sci-fi epic is breathtaking, and a little bit maddening

Earlier this summer, director Denis Villeneuve made news for insisting that watching Dune on television would be like "driv[ing] a speedboat in your bathtub." To some people, it sounded like the petty grievances of an out-of-touch auteur — or worse, a fundamental misunderstanding of the way post-pandemic Hollywood operates: any which way it can.

All that might be true, but it doesn't mean he's wrong. In fact Villeneuve's new adaptation of Frank Herbert's classic 1965 novel is exactly the kind of lush, lofty filmmaking wide screens were made for; a sensory experience so opulent and overwhelming it begs to be seen big, or not at all. That the movie (which premiered Friday at the Venice Film Festival, ahead of a theatrical and HBO Max release Oct. 22) seems to have room for only half the story — and that its emotional palate is considerably more limited than its artistic one — feels relative in many ways to the fandom. If you're already knee-deep in Herbert mythology, you'll thrill to every whispered word; if you come in not knowing the difference between a Holtzman shield and a hole in the floor, it's a longer walk.

The introduction, in any case, wastes little time on exposition: The year is 10191 and Duke Leto Atreides ( Oscar Isaac ) has come with his longtime concubine, Lady Jessica ( Rebecca Ferguson ) and their grown son, Paul ( Timothée Chalamet ), to oversee the colonized planet of Arrakis — a harsh, arid place whose lone prized export is a shimmery dust called Spice. The natives who manage to scrape out a subsistence living farming it there are known as Fremens, their Listerine-blue eyes and Mad Max -style compounds necessary adaptations to the unforgiving climate.

Paul is soon visited by dreams of one Fre-woman in particular, Chani ( Zendaya ), disturbing visions that come to him unreliably and often without context but seem to portend real future events. To Lady Jessica, a member of an ancient all-female order known as the Bene Gesserit Sisterhood, it's further proof that her child may in fact be the one chosen to save them all — centuries of selective eugenics finally come to bear in the body of a boy whose gender just happens to be wrong, or at least not what the Sisterhood planned for.

She's not the only one to take note of his particular gifts: The leader of Atreides' born enemy, the slug-bodied Baron Vladimir Harkonnen ( Stellan Skarsgård ) feels the ripple of his presence and the Fremens do too — even if loyal foot soldiers of his father's, including Josh Brolin 's taciturn weapons master Gurney Halleck and Jason Momoa 's cheerful warrior Duncan Idaho, continue to treat him like an essential if ordinary heir, to be trained and mentored and kept safe in the line of succession.

There are, you may have already sensed, no small actors in Dune , even in small parts: a veiled, imperious Charlotte Rampling as the Mother Superior who puts Paul to a memorable test; Javier Bardem as a terse Fremen chieftan; Dave Bautista as the Baron's brooding bull-necked nephew. Zendaya's Chani, who appears far more verbal in the trailer than she does in the actual film, moves through most of it as a sort of teasing apparition, less fully fleshed character than elusive spirit guide­-slash-dream-key to Paul's destiny.

To be fair, it's hard to imagine a mortal movie star who wouldn't be dwarfed by the exquisite, elaborate world-building happening on screen. As he proved on projects like Arrival and Blade Runner 2049 , Villeneuve's gift for visual storytelling can be genuinely breathtaking — vast desertscapes unscrolling like oceans and helicopters with dragonfly-wing blades where the rotors should be; the kidney-piercing resonance of Hans Zimmer's soundtrack poured over sets of towering, planet-scaled enormity. (Speculation that Dune 's M.O. would be " Star Wars , but make it fashion" is not completely off-base.) If anything falls short of Herbert's particular vision it's the movie's sandworms, who for all their faceless foreboding mostly register as super-size CG tubes; colossal, unwieldy vacuum-cleaner attachments gone rogue.

Dune is so aesthetically rich and monolithic that a few brief, misguided stabs at Marvel-style humor early on feel almost like blasphemy. The script seems to know it and soon settles into a kind of grim grandeur, each turn a building block to nothing less than the interstellar fate of the free world. Chalamet aptly channels the ethereal beauty and conflicted psyche of a reluctant savior, his troubled, tender Paul a sort of sci-fi Hamlet forced by fate and circumstance to bear the full weight of history, and Isaacs' Duke is both a noble warrior and a father so lovingly supportive he belongs in the Call Me By Your Name dad hall of fame . At some point, it is virtually guaranteed that they and nearly everyone else on screen will appear in a visual tableau worth gasping over.

The sheer awesomeness of Villeneuve's execution — there might not be another film this year, or ever, that turns one character asking another for a glass of water into a kind of walloping psychedelic performance art — often obscures the fact that the plot is mostly prologue: a sprawling origin story with no fixed beginning or end. (The director has said that he only agreed to take on the project if the studio let him split Dune 's narrative into two parts, and that he's still "very optimistic" the second will get made.) Minus the fuller context that Herbert's extended universe and dense mythology provides, the meaning of it all feels both endlessly beguiling and just out of reach: a dazzling high-toned space opera written on sand. Grade: B

Related content:

• Dune director Denis Villeneuve breaks down film's eye-popping trailer
• Timothée Chalamet meets the desert in highly anticipated first Dune trailer
• Oscar Isaac says Denis Villeneuve's Dune is shocking, radically different

Related Articles

Dune (2021) Review

22 Oct 2021

Dune (2021)

In Dune , much is made of dreams. It’s the first word of Denis Villeneuve’s film , spoken in a booming, bone-rattling voiceover before a single production logo has even appeared. It’s prophetic dreams of a blue-eyed girl on the planet Arrakis that drive protagonist Paul Atreides ( Timothée Chalamet ) towards his mysterious future. Villeneuve himself has often named Dune as his dream project. And for science-fiction devotees, especially those who have long-worshipped Frank Herbert’s dense tome and waited decades for it to be brought to the screen in a more successful incarnation than previous filmmakers have managed, make no mistake: Villeneuve’s Dune is the adaptation you always dreamed of.

A lot has been written of the complexity of Dune — a 1965 book whose near-impenetrability on the page is legendary, with a story so expansive and mythology so sprawling that even talented filmmakers like Alejandro Jodorowsky (whose version never came to fruition ) and David Lynch (who disowned his own 1984 take ) stumbled in their attempts to capture it. Notably, many of its images and ideas have instead disseminated into everything from Star Wars to Studio Ghibli’s Nausicaä Of The Valley Of The Wind . Villeneuve’s approach is to split the story in half — Dune is actually, by its own title card’s admission, Dune: Part One . It’s a bold gambit — especially since the implied ‘Part Two’ is yet to shoot, and its existence is seemingly predicated on the financial success of this first instalment — but going by everything achieved here, it’s a narratively vital decision. Across a two-and-a-half-hour runtime, Villeneuve luxuriates in establishing Herbert’s vision of a stark galactic empire in which simmering political tensions threaten to boil over, mystical theologies intersect with powerful institutions and industrial interests, and humanity is humbled by the vast power of nature.

Though there’s plenty to establish, Villeneuve — who also co-writes along with Jon Spaihts and Eric Roth — makes surprisingly light work of it all. Chiefly, the story concerns House Atreides — one of several dynastic factions co-existing under a grand empire known as the Imperium. Duke Leto Atreides ( Oscar Isaac ) is tasked by the Emperor to take over the rule of desert planet Arrakis (aka Dune), home of the most valuable substance in the galaxy, Spice. But since the brutal House Harkonnen has successfully overseen the Arrakis operation for 80 years, Duke Leto senses his house’s appointment there is likely a trap. Meanwhile his son Paul is having visions of Fremen girl Chani ( Zendaya ) — and there are signs he could be a prophesised Chosen One as foretold by the Bene Gesserit, an order of mystic women (of which Paul’s mother, Lady Jessica ( Rebecca Ferguson ), is one).

It’s a lot, then — and that’s before you get into the fact that Arrakis also plays host to colossal burrowing sandworms that make crossing the sun-scorched desert a nigh-on impossible proposition. Perhaps it’s the way Villeneuve’s film introduces each faction and world with such precision, or that in a post- Game Of Thrones world mainstream audiences are more primed for this kind of grand-sweep storytelling than ever before — but Dune is never as formidable as it threatens to be. Much of it is in the astonishing production design, which clearly delineates every world and faction with its own visual identity — the cool palette of House Atreides’ oceanic planet Caladan is totally distinct from the gothic caverns of shadowy Harkonnen homeworld Giedi Prime, and a world away from the sizzling expanse of Arrakis. Villeneuve is a visionary filmmaker, and he lets his images do as much of the narrative heavy-lifting as the dialogue

When you finally get to Arrakis, the overriding emotion _Dune_ evokes really kicks in: a near-constant jaw-on-the-floor awe.

If the Part One approach means Dune tells essentially half of a story, it allows that half all the breathing room it requires. After a dreamy opening reel in which Chani establishes the story’s anti-colonialist themes in voiceover (“Who will our next oppressors be?” she wonders as the Harkonnen armies depart Arrakis), we spend a comfortable amount of time on Caladan, establishing Duke Leto’s sense of duty and suspicions of imminent betrayal; Paul’s anxiety over his doom-laden dreams, his skill as a fighter under the tutelage of the grizzled Gurney Halleck ( Josh Brolin ), and his camaraderie with sword-swinging warrior Duncan Idaho ( Jason Momoa ); and Lady Jessica’s potentially conflicting responsibilities as Paul’s mother and a member of the Bene Gesserit order. The pacing is perfect — Villeneuve makes you wait just long enough, so when the action moves to Arrakis you’re just as eager to venture into the desert as Paul.

When you finally get there, the overriding emotion Dune evokes really kicks in: a near-constant jaw-on-the-floor awe. The sense of scale conjured up is, from moment to moment, frequently astonishing. Cinematographer Greig Fraser — who previously delivered the mind-blowing planet-explosion shots in Rogue One: A Star Wars Story — keeps the camerawork largely static and stately, with lingering wide shots that let you drink in all the detail of the gorgeous sets, and bask in the vistas of Villeneuve’s galactic visions. In one shot, the transport ships bound for Arrakis are of ant-like insignificance against the deep expanse of space. At ground-level, they’re colossal. The visual vastness is matched by a Hans Zimmer score that is, to use a technical term, full-Zimmer —with howling human voices, clattering drums sure to make any cinema seat rattle like a 4DX chair, and inexplicable space-bagpipes.

This is blockbuster filmmaking in the Christopher Nolan mould — smart, propulsive, and really big. But more than any one Nolan film in particular, Dune feels most reminiscent of The Lord Of The Rings: The Fellowship Of The Ring . Like Fellowship , it’s merely the opening part of a story, but manages to feel like a masterwork in its own right. Like Fellowship , it establishes a sprawling and complex world that feels both familiar and utterly new with the lightest of touches. And like Fellowship , its biggest set-piece comes just after the midway point — after 90 minutes of setting up dominos, Villeneuve finally lets them clatter into one another in spectacular style, scattering the characters to the winds as the final hour becomes an all-out survival movie.

Among the uniformly excellent performances, Timothée Chalamet holds his own in his first blockbuster leading role. In a film this size, there’s every chance he’d get swallowed up by the sandworm-like enormity of everything around him — but even against the colossal spectacle, the magnetic charisma he displayed in smaller indie fare shines through.

With Villeneuve’s focus primarily on the turning tides of revolution, the emotional strings don’t tug as strongly on a human level. But the film does spend plenty of time bedding in with the Atreides and their inner circle – Ferguson gives a wrenching performance as Paul faces a bone-crunching test in an early reel, and Momoa and Brolin in particular bring moments of life and lightness to the most typically adventure-story roles of the ensemble.

While Dune already feels like an astonishing achievement, there’s no getting around the fact that it’s only half the story – and unlike Fellowship , there’s no guarantee of a Two Towers next year. For now, we have more proof that Denis Villeneuve is a masterful filmmaker, particularly in science-fiction — once again conjuring the hypnotic, glacial heft of Blade Runner 2049 and the truly alien visual qualities of Arrival . But to quote Cloud Atlas (another huge, ambitious sci-fi novel adaptation — one which failed to set the box office alight nearly a decade ago), “a half-finished book is, after all, a half-finished love affair”. To be left dangling without ‘Dune: Part Two’ would be a particular heartbreak. Here’s hoping we won’t only be seeing it in our dreams.

Related Articles

Movies | 29 04 2022

Movies | 23 05 2024

TV Series | 15 05 2024

Movies | 25 04 2024

Movies | 05 04 2024

Movies | 18 03 2024

Movies | 25 10 2023

Movies | 30 08 2023

UK Edition Change

• UK Politics
• News Videos
• Paris 2024 Olympics
• Rugby Union
• Sport Videos
• John Rentoul
• Mary Dejevsky
• Andrew Grice
• Sean O’Grady
• Photography
• Theatre & Dance
• Culture Videos
• Fitness & Wellbeing
• Food & Drink
• Health & Families
• Royal Family
• Electric Vehicles
• Car Insurance Deals
• Lifestyle Videos
• UK Hotel Reviews
• News & Advice
• Simon Calder
• Australia & New Zealand
• South America
• C. America & Caribbean
• Middle East
• Politics Explained
• News Analysis
• Today’s Edition
• Home & Garden
• Broadband deals
• Fashion & Beauty
• Travel & Outdoors
• Sports & Fitness
• Sustainable Living
• Climate Videos
• Solar Panels
• Behind The Headlines
• On The Ground
• Decomplicated
• You Ask The Questions
• Binge Watch
• Travel Smart
• Watch on your TV
• Crosswords & Puzzles
• Most Commented
• Newsletters
• Ask Me Anything
• Virtual Events
• Betting Sites
• Online Casinos
• Wine Offers

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged in Please refresh your browser to be logged in

Dune review: Spectacular sci-fi adaptation is this generation’s Lord of the Rings trilogy

Denis villeneuve’s film is of such literal and emotional largeness that it overwhelms the senses, article bookmarked.

Find your bookmarks in your Independent Premium section, under my profile

Get our free weekly email for all the latest cinematic news from our film critic Clarisse Loughrey

Get our the life cinematic email for free, thanks for signing up to the the life cinematic email.

Dir: Denis Villeneuve. Starring: Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgård, Dave Bautista, Zendaya. Cert 15, 155 mins

In Frank Herbert’s Dune , we’re introduced to the fictional planet of Arrakis – an arid place, its winds so choked with sand that it seems impossible for any creature or person to dwell within it. And yet, from somewhere deep below, a rumble can be heard. Sandworms, both fierce and mountainous, move unseen but still felt. It’s an oddly accurate way to describe the fate of Herbert’s own book, widely recognised as one of the greatest pieces of science fiction, but absent from the popular consciousness to such a degree that George Lucas could pilfer its story of ancient religions and desert messiahs without much notice.

Meanwhile, Hollywood has come to consider the book as something of a poisoned chalice. Dune has already felled two great visionaries: Alejandro Jodorowsky’s psychedelic vision collapsed in on itself, while David Lynch’s typically absurdist take was reviled by critics. So there was an undeniable audacity to the decision by Warner Bros to revisit Herbert’s 1965 novel, placing it now in the hands of French-Canadian director Denis Villeneuve and dividing it into two parts. But that risk has been richly rewarded.

Villeneuve’s Dune is the sandworm exploding out from the darkness below. It is a film of such literal and emotional largeness that it overwhelms the senses. If all goes well, it should reinvigorate the book’s legacy in the same way Peter Jackson’s Lord of the Rings trilogy did for JRR Tolkien’s work. Indeed, much like Jackson, Villeneuve has a certain pliancy to his vision that, in this case, has been his saving grace. Arrival and Prisoners , two of his previous films, may have possessed their own distinctive look but, when it came to Blade Runner 2049 , his belated sequel to Ridley Scott’s masterpiece, it spoke fluently in the language of what came before.

Dune , then, is firmly grounded in Herbert’s book. The author’s story of feudal nobles waging war over Arrakis, the only source of a powerful drug known as spice, is thick with conflicting ideas that academics are still unpacking today. For Villeneuve, his interests seem to lie mostly in where colonialism and religion collide, specifically in the weaponisation of belief in order to control a population. The film opens with a piece of narration from Chani (Zendaya), one of Arrakis’s indigenous Fremen, as she ponders over who will be the next to oppress her people. The cruel and ruthless Harkonnens have left their planet and given up control of the spice trade. In their place arrives House Atreides: Duke Leto (Oscar Isaac), his concubine Lady Jessica (Rebecca Ferguson), and their son Paul (Timothée Chalamet).

Jessica is a member of the Bene Gesserit, a spiritual order of witch-like women who have served as the guiding hand of history. Through the careful intermixing of bloodlines, they hope to produce the “Kwisatz Haderach” – a mind so powerful that it could bridge space and time, past and future. It’s becoming increasingly clear that Paul himself may be the fated being in question.

Centuries before the events described in Herbert’s novel, there was a revolt that destroyed all computers. Patrice Vermette’s production work and Jacqueline West’s costumes have thus eschewed many of the conventions of futuristic design in favour of something far more archaeological and symbolic. Painted Japanese panels sit beside Byzantine robes, with just a touch of the mechanical eerieness of artist HR Giger, once hired for Jodorowsky’s film. Hans Zimmer’s score, so dread-filled that it’s frightening, includes both throat singing and Scottish bagpipes.

Villeneuve allows the terrible, suffocating weight of Paul’s destiny to infect every frame of Dune – from the sterile, muted palette of his homeworld Caladan to the gold-flecked haze of Arrakis. Figures traverse across vast landscapes, while miniature swarms of spaceships gather like invading insects. That smallness allows, too, for some humanity. There is a fragility to these characters, upheld by a cast of actors all too smart to be swallowed up by portentousness. Chalamet will always have his sheepishness, Zendaya a cutting clarity to her voice.

But Dune is a complicated book. It’s also a complicated film. There’s a real question as to why the Fremen – whose language, dress, and culture are so directly inspired by the nomadic, Arabic Bedouin tribes – don’t feature any Middle Eastern and North African (Mena) actors in speaking roles, their leader instead played by Javier Bardem in a shemagh-inspired headscarf. The casting choice is poor, and will only cause further problems if Villeneuve is able to make the second part of this story. It’s a small, but noticeable chip in the paint when it comes to Dune – a work that’s otherwise of such intimidating grandeur that it’s hard to believe it even exists in the first place.

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Subscribe to Independent Premium to bookmark this article

Want to bookmark your favourite articles and stories to read or reference later? Start your Independent Premium subscription today.

New to The Independent?

Or if you would prefer:

Want an ad-free experience?

Hi {{indy.fullName}}

• My Independent Premium
• Account details
• Help centre

Common Sense Media

Movie & TV reviews for parents

• For Parents
• For Educators
• Our Work and Impact

Or browse by category:

• Get the app
• Movie Reviews
• Best Movie Lists
• Best Movies on Netflix, Disney+, and More

Common Sense Selections for Movies

50 Modern Movies All Kids Should Watch Before They're 12

• Best TV Lists
• Best TV Shows on Netflix, Disney+, and More
• Common Sense Selections for TV
• Video Reviews of TV Shows

Best Kids' Shows on Disney+

Best Kids' TV Shows on Netflix

• Book Reviews
• Best Book Lists
• Common Sense Selections for Books

8 Tips for Getting Kids Hooked on Books

50 Books All Kids Should Read Before They're 12

• Game Reviews
• Best Game Lists

Common Sense Selections for Games

• Video Reviews of Games

Nintendo Switch Games for Family Fun

• Podcast Reviews
• Best Podcast Lists

Common Sense Selections for Podcasts

Parents' Guide to Podcasts

• App Reviews
• Best App Lists

Social Networking for Teens

Gun-Free Action Game Apps

Reviews for AI Apps and Tools

• YouTube Channel Reviews
• YouTube Kids Channels by Topic

Parents' Ultimate Guide to YouTube Kids

YouTube Kids Channels for Gamers

• Preschoolers (2-4)
• Little Kids (5-7)
• Big Kids (8-9)
• Pre-Teens (10-12)
• Teens (13+)
• Screen Time
• Social Media
• Online Safety
• Identity and Community

Kids' Mental Health Apps and Websites for Anxiety, Depression, Coping Skills, and Professional Support

• Family Tech Planners
• Digital Skills
• All Articles
• Latino Culture
• Black Voices
• Asian Stories
• Native Narratives
• LGBTQ+ Pride
• Best of Diverse Representation List

Multicultural Books

YouTube Channels with Diverse Representations

Podcasts with Diverse Characters and Stories

Common sense media reviewers.

Lots of fighting in vivid but long sci-fi adaptation.

A Lot or a Little?

What you will—and won't—find in this movie.

This film covers the first half of the source nove

Paul comes off as a fairly traditional hero but al

Male-driven narrative, but women in supporting rol

Sci-fi action-style guns and shooting. People get

Kissing. A man appears to be naked; nothing explic

Infrequent use of "hell," "s--t," "ass," "damn." "

"Spice" is described as a drug that has good prope

Parents need to know that Dune is based on Frank Herbert's epic 1965 novel (previously adapted for the big screen in 1984 and for TV in 2000). It covers the first half of the book and stars Timothée Chalamet and Zendaya. Sci-fi action violence includes lots of fighting, both on the battlefield and one on one,…

Positive Messages

This film covers the first half of the source novel, so many of the book's bigger themes -- including religion and environmentalism -- aren't fully explored. One theme that does arise involves control of Arrakis: The villains (House Harkonnen) oppress the Fremen, while the heroes (House Atreides) try to work alongside them.

Positive Role Models

Paul comes off as a fairly traditional hero but also has started down a dark path by beginning to use a prophecy to his own advantage, setting himself up as a kind of messiah. To prove himself worthy of the Fremen, he kills a man; there are no consequences. His father, Duke Leto, is a far better role model; he's shown to be kind, benevolent, wise, understanding, although his trust and loyalty eventually ( spoiler alert ) get him killed.

Diverse Representations

Male-driven narrative, but women in supporting roles are quite powerful and admirable. This version improves on previous iterations' all-White casts by including diverse actors (Latino, Hawaiian/Polynesian, Asian, Black), but main characters are still all White, and ( spoiler alert ) virtually all characters of color die. Has raised concerns in the way it leans on Middle Eastern culture for world-building but doesn't include any MENA actors. No body/size diversity, unless you count the Baron, whose grotesqueness is unfortunately tied to his larger size and eating.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Sci-fi action-style guns and shooting. People get shot; deaths/dead bodies. Fighting with swords, blades, other weapons. Battles. Explosions. Character stabbed. Character impaled with dart. Neck-slicing. Beheadings. Characters swallowed by sandworm. Not much blood, but scenes include a bloody hand, bloody knife, blood spot. Poison gas. Crash-landing. Rape is mentioned in dialogue.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Kissing. A man appears to be naked; nothing explicit shown. Shirtless man.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Infrequent use of "hell," "s--t," "ass," "damn." "My God" used as an exclamation.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

"Spice" is described as a drug that has good properties but is also addictive; the only side effect is that it turns users' eyes luminous blue. It's not really depicted as a substance that can be abused. It's more just "the thing" that both the heroes and villains want to get their hands on.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Dune is based on Frank Herbert's epic 1965 novel (previously adapted for the big screen in 1984 and for TV in 2000). It covers the first half of the book and stars Timothée Chalamet and Zendaya . Sci-fi action violence includes lots of fighting, both on the battlefield and one on one, with guns, knives, and other weapons. There are also beheadings and explosions, and characters are stabbed and/or cut open, poisoned, and eaten by worms. A little bit of blood is shown, and characters die. There's kissing and partial male nudity (no sensitive body parts shown). Infrequent language includes "s--t," "ass," and "hell." The story is about a drug known as "spice," but it's more of a thing for everyone to fight over than a real drug. While this (long) movie isn't without its flaws, director Denis Villeneuve gives it a languid smoothness that makes for an enthralling tale (which continues in Dune: Part Two ). To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

Community Reviews

• Parents say (26)
• Kids say (104)

Based on 26 parent reviews

Jaw-dropping prologue has intense violence

A fan and a father, what's the story.

In DUNE, the desert planet Arrakis is the source of a valuable drug, called "spice," that allows users to travel vast distances. Spice mining and distribution on Arrakis are controlled by the evil Baron Harkonnen ( Stellan Skarsgard ), whose armies oppress the planet's Fremen people. Under orders from the emperor, Duke Leto Atreides ( Oscar Isaac ) takes over the stewardship of Arrakis and moves there with his wife, Lady Jessica ( Rebecca Ferguson ), and son, Paul ( Timothée Chalamet ). Lady Jessica has been teaching Paul in the ways of the Bene Gesserit, and, once on Arrakis, some of the Fremen begin to suspect that Paul may be a prophesied "chosen one." But after a betrayal, Lady Jessica and Paul find themselves in the desert, hunted by giant sandworms, with the mysterious Fremen their only chance of survival.

Is It Any Good?

In this first of two Dune movies, director Denis Villeneuve smooths out the most cumbersome parts of Frank Herbert's original tale, providing enough spectacle to overcome the dull bits. With echoes of his earlier films Arrival and Blade Runner 2049 , Villeneuve brings a languid moodiness to the storytelling here, slowing things down and allowing viewers time to take in the vast sets (built broad and low to fit the widescreen frame) and devices -- like the amazing, if impractical, ships modeled after dragonflies -- and to keep track of the story's innumerable characters. This rhythm builds to the tale's memorable, invigorating highlights -- such as Paul dodging a life-threatening hunter-seeker or enduring the painful gom jabbar test, or the first appearance of the massive sandworms -- and makes them feel extra vivid.

The movie even manages to soften the old, tired "chosen one" device, as well as the simplistic plot strands that are covered up by heaps of sci-fi names (how do you pronounce "Thufir Hawat" anyway?), places, and devices, making things flow more organically. It's even possible to remember that the original novel, published in 1965, actually inspired much that came after it, including Star Wars and The Matrix . Villeneuve can't quite downplay the source material's choking seriousness, but there are lighter moments. Skarsgard's Baron is a highlight; he's so grotesque that you can't look away. And then there's a swaggering Jason Momoa as swordmaster Duncan, who seems to be the only one having any fun. As with Blade Runner 2049 , Dune goes on too long, with too many scenes of fighting, and this version lacks the quirky personality of the 1984 David Lynch take , but it's far more rousing.

Talk to Your Kids About ...

Families can talk about Dune 's violence . How did it make you feel? Was it exciting? Shocking? What did the movie show or not show to achieve this effect? Why is that important?

Why is "spice" considered a drug ? Is meant to represent drugs as we know them? Is it glamorized? Are there consequences for using it?

What are some of the movie's themes? How can sci-fi be used to explore real-life issues like colonialism and representation? How are the Fremen represented in the film?

How does this movie compare to the novel, the previous movie, and/or the TV movie? How is it different from those versions? How is it the same?

Is Paul a role model ? What makes him seem heroic? What behaviors suggest otherwise?

Movie Details

• In theaters : October 22, 2021
• On DVD or streaming : January 11, 2022
• Cast : Timothée Chalamet , Zendaya , Rebecca Ferguson , Oscar Isaac
• Director : Denis Villeneuve
• Inclusion Information : Female actors, Black actors, Multiracial actors, Latino actors
• Studio : Warner Bros.
• Genre : Science Fiction
• Topics : Book Characters , Space and Aliens
• Run time : 155 minutes
• MPAA rating : PG-13
• MPAA explanation : sequences of strong violence, some disturbing images and suggestive material
• Awards : Academy Award , Golden Globe - Golden Globe Award Winner
• Last updated : June 20, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

Suggest an Update

Our editors recommend.

Dune: Part Two

Blade Runner 2049

Mad Max: Fury Road

Star Wars: Episode VII: The Force Awakens

Sci-Fi Movies

Thriller movies, related topics.

• Book Characters
• Space and Aliens

Want suggestions based on your streaming services? Get personalized recommendations

Common Sense Media's unbiased ratings are created by expert reviewers and aren't influenced by the product's creators or by any of our funders, affiliates, or partners.

‘Dune’ Review: Denis Villeneuve's Sci-Fi Epic Has a Cold Heart on a Hot Planet

Your changes have been saved

Email Is sent

Please verify your email address.

You’ve reached your account maximum for followed topics.

Elton John Had To Fight To Keep 'The Lion King's Oscar-Winning Song in the Movie

The eerie easter egg that appears in multiple stephen king adaptations, lex luthor looks worse for wear in new 'superman' set images.

Director Denis Villeneuve takes his sci-fi seriously. While most mainstream, studio sci-fi goes for something more in the vein of Star Wars with dashing adventure, a healthy dose of humor, and not worrying about explaining anything too much, Villeneuve gets in the weeds. While his previous science fiction movies, Arrival and Blade Runner 2049 , were able to embrace a deadly serious tone while never losing their emotional core, his latest film, half an adaptation of Frank Herbert’s epic Dune (the movie states that it’s “Part One” although a second part has yet to receive a green light as of mid-October 2021), is a distant affair despite its exquisite craftsmanship. Despite having more time than the 1984 David Lynch film to tell the story, Villeneuve’s Dune never manages to dive deeper into the character relationship, instead getting down in the plotting issues of intergalactic colonial mining operations between royal houses and how it intersects with a rising messiah figure. These are heady concepts, but they lack any kind of emotional weight because we don’t care about the people in this vast tapestry. Instead, despite its outstanding cast, they’re all absorbed into the rich milieu of this sci-fi epic without ever making the case about why we should be invested. The spice may flow, but this narrative doesn’t.

The planet of Arrakis is the location of “spice”, a substance that is of religious significance to the local population, the Freman, but is highly coveted by the rest of the galaxy because it’s what makes space travel possible. Arrakis was previously occupied by the ruthless House Harkonnen, but the Emperor has decided to now give the license to House Atreides in the hopes that they will fail since their rising power is a threat to the Imperium. Against this backdrop is Paul Atreides ( Timothée Chalamet ), the prince of House Atreides, who’s the son of its ruler Duke Leto ( Oscar Isaac ) and his concubine Lady Jessica ( Jessica Ferguson ), who is also a member of the all-female Bene Gesserit, a religious order pulling the strings. As Paul begins to have visions of Arrakis and its Freman, especially a young woman named Chani ( Zendaya ), he also becomes part of a prophecy that could see him rise to a messiah figure for the Freman and someone who could change the order of the galaxy.

RELATED: Timothée Chalamet and Zendaya on ‘Dune,’ the Sequel, and How Denis Villeneuve Brought a Universe to Life

You’ll note character relationships didn’t factor a lot into that synopsis, and that’s because they don’t really matter. Almost all the relationships in Dune are perfunctory and designed to prop up the plotting and world-building rather than the other way around. We know Duke Leto loves Paul because he tells him. We know that Lady Jessica loves Paul because she looks distraught when he’s tested by the Bene Gesserit. But the texture and nuance of these relationships are non-existent. They exist only in the realm of archetype and devoid of much shading. Even when we’re given a glimpse of a history between two characters—like the camaraderie between Paul and soldier Duncan Idaho ( Jason Momoa , the only person in this movie who seems like he’s happy to be there)—they have just a handful of scenes together, so there’s no chance to build anything. Dune is a movie where Paul grows and changes not because of his interactions with other people, but because he’s “destined” and so the plot is sporadically marked by various awakenings and mystical happenings, but nothing that derives from Paul being particularly interesting despite Chalamet giving it his all.

The problem isn’t that Villeneuve treats this big sci-fi story with a stone-faced resolve. If anything, the total lack of irony makes it easier to invest in a plot that’s taking numerous big swings and counting on the audience to follow along. This isn’t Star Wars (even though at one point Paul basically has to use the Force to fly through a sandstorm), and Villeneuve expects you to keep up with terms like “Bene Gesserit” “Gom Jabbar”, and “Lisan al-Gaib” (there’s also a heavy Orientalist slant that the film never wrestles with or addresses). Villeneuve is also counting on the audience to accept only half the story, which makes Dune feel not only anticlimactic, but uncertain about if it’s building into anything in particular. For a movie where “fear is the mindkiller” is a repeated mantra, it takes almost the entire 150-minute runtime to find out what exactly Paul fears. That we gleam so little insight from our protagonist makes Dune like a magnificently ornate, empty box.

I don’t want to diminish that craftsmanship because what cinematographer Grieg Fraser and composer Hans Zimmer contribute here is truly astounding. Dune is a triumph of world-building, and other sci-fi features would be wise to take notes from how much Villenueve is able to convey just through the costumes and settings. It’s hard to make sci-fi that feels both new and familiar, and Dune dances on that tightrope. We know that House Atreides is a bit more ambiguous than the clearly evil House Harkonnen because while Duke Leto says he wants to forge an alliance with the Freman, the Atreides’ style is still militaristic and spartan. For a movie that tells you a lot and expects you to keep up, you can still sit back and marvel at this world that Villeneuve has crafted.

But for all its beauty and sand-shaking score (if you do see Dune , the theatrical experience is the way to go), I couldn’t shake the hollowness of the whole endeavor. Perhaps it will all come together if “Part Two” ever happens (although I’m skeptical given that this isn’t a particularly entertaining movie, so I’m dubious about the audience’s appetite for deadly serious epic science fiction, especially after the poor box office returns on Blade Runner 2049 ), but for now Dune is a lot of “what” without ever bothering to give a reason about why the audience should care. Perhaps some will be riveted by the political and religious intrigue brewing in the background, but that provides scant reason to care about these characters. I love that Villeneuve is fully invested in crafting the world of Dune , but I wish that care and craft had been equally applied to the people that inhabit it.

Dune arrives in theaters and on HBO Max on October 21st.

KEEP READING: ‘Dune’ Final Trailer Goes Deep Into the Story of Denis Villeneuve’s Sci-Fi Epic

• Dune (2021)

• Tickets & Showtimes
• Trending on RT

Dune First Reviews: The Breathtaking Adaptation Fans Have Been Waiting For

Critics say denis villeneuve's new take on frank herbert's classic novel is a nuanced, well-acted feast for the eyes and ears, even if it only leaves viewers wanting more..

TAGGED AS: Action , blockbuster , Film , films , movie , movies , Sci-Fi , science fiction

After decades of failed attempts and unsuccessful efforts, Frank Herbert’s Dune has been adapted into one of the most anticipated movies of the year — if not millennia. Does Denis Villeneuve ( Arrival ) finally do the classic science fiction novel(s) justice? The first reviews of his star-studded and visually epic new movie, also known as Dune: Part One , answer mostly in the affirmative. However, there’s a fairly uniform disappointment in how it ends without an ending.

Here’s what critics are saying about Dune :

Is this the Dune we’ve always wanted?

“Denis Villeneuve’s movie is the film interpretation that fans have been waiting to see for decades.” – Eric Eisenberg, Cinema Blend

“For science fiction devotees, especially those who have long-worshipped Frank Herbert’s dense tome…Villeneuve’s  Dune  is the adaptation you always dreamed of.” – Ben Travis, Empire Magazine

“[It] honors the source material in the most satisfying way possible.  Dune  2021 is a modern-day work of art.” – Jimmy O, JoBlo’s Movie Emporium

“The missing link bridging the multiplex and the arthouse… Good heavens, what a film.” – Xan Brooks, Guardian

“For all its amazing imagery and A-list stars and very cool interpretations of the nerdier aspects of Herbert’s book, this version of Dune doesn’t fully coalesce.” – Scott Collura, IGN

Will it make us forget about David Lynch’s version?

“His Dune is the opposite of Lynch’s, methodical and cerebral, set against pastels and smoke and long stretches of moodiness.” – Roger Friedman, Showbiz 411

“Denis Villeneuve hasn’t succeeded where the likes of David Lynch and Alejandro Jodorowsky have already failed, [but] his Dune is at least uniquely dispiriting.” – David Ehrlich, IndieWire

“I’ll always love Lynch’s Dune , a severely compromised dream-work that (not surprising given Lynch’s own inclination) had little use for Herbert’s messaging. But Villeneuve’s movie is   Dune .” – Glenn Kenny, RogerEbert.com

(Photo by Courtesy of Warner Bros. Pictures and Legendary Pictures)

Is it a satisfying adaptation?

“This first chapter explores a very complex and detailed story with clarity and style. More importantly, it does so without sacrificing the impressive detail of Frank Herbert’s original vision.” – Jimmy O, JoBlo’s Movie Emporium

“Denis Villeneuve and his collaborators have cracked the code with their approach… extraordinary in its ability to directly translate the source material across mediums without compromise.” – Eric Eisenberg, Cinema Blend

“A more significant casualty is the book’s layered interiority, its skill at turning unspoken perceptions and motives into drama; the writers have managed this material without mastering it.” – Justin Chang, Los Angeles Times

“If anything falls short of Herbert’s particular vision it’s the movie’s sandworms.” – Leah Greenblatt, Entertainment Weekly

Is it OK if you haven’t read the book?

“Thankfully, Dune isn’t particularly hard to follow.” – Rodrigo Perez, The Playlist

“Though there’s plenty to establish, Villeneuve makes surprisingly light work of it all…  Dune  is never as formidable as it threatens to be.” – Ben Travis, Empire Magazine

“The script does a good job with exposition without making it seem like EXPOSITION… but by the same token, there may not be any reason for you to be interested in Dune if you’re not a science-fiction-movie person anyway.” – Glenn Kenny, RogerEbert.com

“It’s not a film that requires any familiarity with the source material… Stretches in the early parts of  Dune  are a layman’s terms guide to Herbert’s incredibly intricate and uniquely realized universe.” – Adam Solomons, AwardsWatch

“If you come in not knowing the difference between a Holtzman shield and a hole in the floor, it’s a longer walk.” – Leah Greenblatt, Entertainment Weekly

“We don’t really learn much about individual characters in the film, making it hard to grasp or care about the stakes of the story.” – Richard Lawson, Vanity Fair

(Photo by Chiabella James/©Warner Bros. Entertainment Inc.)

How is Denis Villeneuve as director?

“Villeneuve’s true talent is less in the staging of violence than in the queasy anticipation of it… That gift serves him well enough in Dune .” – Justin Chang, Los Angeles Times

“Those who find Villeneuve to be a self-serious, humorless, and pretentious bore likely won’t be changing their minds anytime soon after Dune , but that just might be their loss.” – Rodrigo Perez, The Playlist

“To say I have not admired Villeneuve’s prior films is something of an understatement. But I can’t deny that he’s made a more-than-satisfactory movie of the book.” – Glenn Kenny, RogerEbert.com

“The unforgiving starkness will unsettle even some of Villeneuve’s greatest fans.” – Donald Clarke, Irish Times

“For all of Villeneuve’s awe-inducing vision, he loses sight of why Frank Herbert’s foundational sci-fi opus is worthy of this epic spectacle in the first place.” – David Ehrlich, IndieWire

“He’s an overloader, and only the keenest and most urgent of scripts can survive beneath that weight. Dune , unfortunately, is not one of those.” – Richard Lawson, Vanity Fair

How does it compare to his other work?

“It’s an arthouse blockbuster in the vein of his Blade Runner 2049 , but even less concerned with commercial appeal, which is admirably bold.” – Rodrigo Perez, The Playlist

“Much like the haunting  Blade Runner 2049 , the director has taken the time to explore numerous characters without sacrificing the main story and themes.” – Jimmy O, JoBlo’s Movie Emporium

“Like Blade Runner 2049 and especially Arrival , Dune is another unusually philosophical speculative fiction that ponders the difficulties of language and coexistence.” – Justin Chang, Los Angeles Times

“If you loved Arrival and Blade Runner 2049 , then Dune is perhaps Denis Villeneuve at his Villeneuviest.” – Richard Trenholm, CNET

Is it reminiscent of anything else?

“Think of it as Game of Thrones in space or Star Wars if it never got off Tatooine.” – Steve Pond, The Wrap

“Impressively ambitious in scale, like Villeneuve mashing up the worlds of Star Wars and Game of Thrones .” – Brian Truitt, USA Today

“Arguably [many of its elements are] all things that Star Wars features too, but just much more dense, sophisticated, and less child-like.” – Rodrigo Perez, The Playlist

“ Dune feels most reminiscent of The Lord Of The Rings: The Fellowship Of The Ring .” – Ben Travis, Empire Magazine

“Much like the semi-recent classic Peter Jackson’s The Fellowship of the Rings in the LOTR trilogy, this is only the beginning of the story… [and] Denis Villeneuve has created one of the best fantasy feature since Peter Jackson’s journey into Middle Earth.” – Jimmy O, JoBlo’s Movie Emporium

“Historical comparisons are of no use. None of us has been anywhere like this before. They can put that on the poster.” – Donald Clarke, Irish Times

“It sets a new standard for modern sci-fi epics.” – Germain Lussier, io9.com

Is there enough action for mainstream audiences?

“ Dune  is consistently gripping and plot driven.” – Adam Solomons, AwardsWatch

“Even though it may be a slow burn, the action set pieces do not disappoint, neither does the filmmaker sacrifice the subtle themes and ideas explored throughout.” – Jimmy O, JoBlo’s Movie Emporium

“The pacing is perfect. Villeneuve makes you wait  just  long enough, so when the action moves to Arrakis you’re just as eager to venture into the desert as Paul.” – Ben Travis, Empire Magazine

“This version of Dune sometimes feels as if it aims to impress you more than entertain you… but it’s also a formidable cinematic accomplishment.” – Steve Pond, The Wrap

“It feels like a drag in its back half.” – Scott Collura, IGN

How are the visuals?

“Cinematographer Grieg Fraser has outdone himself from frame to frame, set piece to set piece, creating jaw dropping pieces of art that are impressionistic, sensational, and other worldly.” – Roger Friedman, Showbiz 411

“It’s all a feast for the eyes. The visuals are mind-blowing.” – Jimmy O, JoBlo’s Movie Emporium

“Aesthetically, Dune is pretty damn monumental and enveloping, and for audiences that potentially may find the plot confusing, the film still works on a deeply experiential, visceral level.” – Rodrigo Perez, The Playlist

“The sense of scale conjured up is, from moment to moment, frequently astonishing.” – Ben Travis, Empire Magazine

“ Dune looks great, but outside of the fantastical design, the muted palette borders on drab.” – Richard Trenholm, CNET

And how does it sound?

“ Dune [is] a symphony for the ears as well as a feast for the eyes.” – Justin Chang, Los Angeles Times

“ Dune  is also an auditory journey, not only featuring enveloping sound editing, but one of the best scores Hans Zimmer has ever composed.” – Eric Eisenberg, Cinema Blend

“The visual vastness is matched by a  Hans Zimmer  score that is, to use a technical term, full-Zimmer.” – Ben Travis, Empire Magazine

“Composer Hans Zimmer inspires great awe with a booming score, but not one  BRAAAM  in sight, thankfully.” – Rodrigo Perez, The Playlist

  What is the overall experience like?

“As a visual and visceral experience, Dune is undeniably transporting. As a spectacle for the mind and heart, it never quite leaves Earth behind.” – Justin Chang, Los Angeles Times

“ Dune is certainly capable of transporting us to its alien landscapes via its many technical achievements… There is no detail spared in immersing us in this fantastical world.” – Scott Collura, IGN

“You feel like you’re looking into a window across space and time… The line between fiction and reality fades from your mind, and it’s breathtaking.” – Eric Eisenberg, Cinema Blend

“Villeneuve’s  Dune  is the sandworm exploding out from the darkness below. It is a film of such literal and emotional largeness that it overwhelms the senses.” – Clarisse Loughrey, Independent

How are the performances?

“Chalamet confirms on a grand scale what arthouse audiences have long known about his charisma.” – David Crow, Den of Geek

“Timothee Chalamet once again gives another exceptional performance.” – Jimmy O, JoBlo’s Movie Emporium

“Among the uniformly excellent performances, Timothée Chalamet holds his own in his first blockbuster leading role.” – Ben Travis, Empire Magazine

“Chalamet, playing it earnestly and effectively, is perfectly cast here, and both Ferguson and Isaac are excellent, as is Skarsgård.” – Pete Hammond, Deadline

“Everyone flawlessly gets at the core of who they are playing. Timothee Chalamet, Rebecca Ferguson and Oscar Isaac are the triumvirate that lead the cast, and they are all phenomenal.” – Eric Eisenberg, Cinema Blend

“Momoa, in particular, bringing a swagger and excitement beyond anything we’ve seen from him before.” – Germain Lussier, io9.com

“The actors here all give good, serious performances, but in a sense it isn’t an actor’s film, because they are playing archetypes.” – Catherine Bray, Film of the Week

“No one has much time to distinguish themselves, all functioning as mere fleshy cogs in Villeneuve’s churning machine.” – Richard Lawson, Vanity Fair

Is it a fun movie?

“The script benefits from injecting occasional bits of humor into the universe-shaping events of the film.” – Scott Collura, IGN

“ Dune  is so aesthetically rich and monolithic that a few brief, misguided stabs at Marvel-style humor early on feel almost like blasphemy.” – Leah Greenblatt, Entertainment Weekly

“If what you love most about Marvel is the quips, you might not like Dune very much…it is deadly serious…a relief I hadn’t realized I needed.” – Catherine Bray, Film of the Week

“While Villeneuve has been and likely remains one of the most humorless filmmakers alive, the novel wasn’t a barrel of laughs either, and it’s salutary that Villeneuve honored the scant light notes in the script.” – Glenn Kenny, RogerEbert.com

“ Dune  lumbers with such aloof, uninviting self-seriousness that it’s hard to love, hard to even celebrate as an assured piece of tentpole authorship.” – Richard Lawson, Vanity Fair

“My only grievance is that hardly anyone in this film ever smiles…everyone in Dune is grimly serious. You kind of wish someone would shake Paul’s hand with a joy buzzer.” – Roger Friedman, Showbiz 411

Does it feel unfinished?

“The film is ultimately a long and overwrought prologue — a prelude to action rather than its own autonomous story.” – Richard Lawson, Vanity Fair

“The real meal doesn’t really begin until Part Two , and that’s probably one of the minor disappointments of its inconclusive finale.” – Rodrigo Perez, The Playlist

“It does wind up feeling incomplete… like the serving of a decadent and delicious appetizer that comes out while the epic entrée to come is still braising in the kitchen.” – Eric Eisenberg, Cinema Blend

“It feels so completely sure of itself and so legitimately stunning, that it’s a huge shame that the next chapter is in fact subject to the whims of the marketplace… Surely, there has to be more.” – Catherine Bray, Film of the Week

“To be left dangling without Dune: Part Two would be a particular heartbreak. Here’s hoping we won’t only be seeing it in our dreams.” – Ben Travis, Empire Magazine

Is it difficult to assess this first chapter on its own?

“It will require reassessment when the rest of the director’s vision is revealed – and if there is a movie god, we’ll see that happen sooner rather than later.” – Eric Eisenberg, Cinema Blend

“What could happen in the future isn’t something you can think about when critiquing a movie though. There’s this movie, this story, and if it doesn’t work on its own, that would problem. It’s not a problem here.” – Germain Lussier, io9.com

Dune is in theaters and on HBO Max on October 22, 2021.

On an Apple device? Follow Rotten Tomatoes on Apple News .

Related News

MaXXXine First Reviews: A Gnarly, Potent Satire with a Magnetic Mia Goth at Her Best

Poll: Vote for Your Most Anticipated Movie of July

30 Most Popular Movies Right Now: What to Watch In Theaters and Streaming

Poll: Vote for Your Most Anticipated TV or Streaming Show of July

Movie & TV News

Featured on rt.

What to Expect from The Bear : Season 3

June 26, 2024

June 25, 2024

Top Headlines

• Best Movies of 2024: Best New Movies to Watch Now –
• 25 Most Popular TV Shows Right Now: What to Watch on Streaming –
• 30 Most Popular Movies Right Now: What to Watch In Theaters and Streaming –
• All 73 Disney Animated Movies Ranked –
• All Adam Sandler Movies Ranked –
• Box Office 2024: Top 10 Movies of the Year –

• Skip to main content
• Keyboard shortcuts for audio player

Movie Reviews

• LISTEN & FOLLOW
• Apple Podcasts
• Google Podcasts
• Amazon Music

Your support helps make our show possible and unlocks access to our sponsor-free feed.

Sci-Fi epic 'Dune' is an immersive but incomplete experience

Justin Chang

Timothée Chalamet is a royal heir, and Rebecca Ferguson is his mother in Dune . Chiabella James/Warner Bros. Pictures hide caption

Timothée Chalamet is a royal heir, and Rebecca Ferguson is his mother in Dune .

Dune may not be the best new movie you'll see this year, but it's easily the most new movie you'll see this year. I left the theater feeling overwhelmed and a little parched, as though I'd spent two hours and 35 minutes being pummeled by hot desert winds and blinding sandstorms. The world of Frank Herbert's novel feels big and immersive here in a way it never has on-screen, with its futuristic spacecraft, cavernous fortresses and, of course, terrifying sand worms.

I've never been a huge fan of Denis Villeneuve's technically stupendous but oddly soulless movies, like Prisoners and Incendies , or bought into the notion that he's some kind of second coming of Stanley Kubrick. Still, there's no question that he's well prepared for this assignment as the director of moodily ambitious science fiction like Arrival , probably his best film, and Blade Runner 2049 .

With Dune , Villeneuve and his co-writers, Jon Spaihts and Eric Roth, have made a lucid adaptation of a book that's long been deemed unfilmable: The Chilean filmmaker Alejandro Jodorowsky famously abandoned his Dune movie in the '70s, and David Lynch 's 1984 version was deemed such a disaster that Lynch himself disowned it. There was also a bland 2000 miniseries that at least understood that the book might be too dense to squeeze into a single film.

Reporter's Notebook

With 'dune,' denis villeneuve has made hollywood's definitive post-9/11 epic.

That may be why Villeneuve opted to split Dune into two movies. This first installment is a largely faithful retelling of a complicated story. Many millennia into the future, the universe has become a vast feudal society — a sort of interstellar Game of Thrones — in which noble houses control different planets. The most coveted is the desert planet Arrakis, or Dune, the source of a powerful, life-extending substance called spice.

As the story opens, there's been an imperial decree that control of Arrakis will be taken away from the treacherous House Harkonnen and handed over to its longtime rival, House Atreides. It's a triumph for the good Duke Leto Atreides ( Oscar Isaac ), though he and his advisers, played by actors including Jason Momoa and Josh Brolin , suspect they may be walking into a trap.

Pop Culture Happy Hour

'dune': a sweeping, spectacular spice-opera — half of one, anyway.

Timothée Chalamet is a great choice for the duke's son Paul, a coddled royal heir who could be the "Kwisatz Haderach" — that's Dune- speak for messiah figure or superbeing. For the most part, the movie keeps Herbert's made-up languages to a minimum.

Villeneuve wants even novices to be able to follow along. He plays up the book's ever-resonant subtexts of colonial oppression and ecological disaster. And he's cast even the smaller roles with magnetic actors, like Charlotte Rampling and Stellan Skarsgard, who keep you watching even when the plot begins to tilt into abstraction. Rebecca Ferguson brings a welcome warmth to Lady Jessica, Paul's mother, with whom he flees into the desert when House Atreides comes under attack. And Zendaya and Javier Bardem turn up among the Fremen, the brutally oppressed Indigenous people of Arrakis, who will play a larger role in part two.

Movie Interviews

Doomed 'dune' was generations ahead of its time.

For sheer seat-rattling spectacle, Dune is undeniably staggering. The attack on House Atreides is staged with a brooding, quasi-Shakespearean grandeur. And then there are those giant sand worms winding their way through the story, so mysterious and mesmerizing to behold that you almost wouldn't mind being eaten by one, just to see what it's like.

But there's also something crucial missing . Much of the plot is advanced through elements of mind reading and mind control, so it's a shame that the movie never really gets inside its characters' heads. As with so many of Villeneuve's films, the visuals are stunning but the storytelling feels rudimentary; you get the sense that he's managed his source material without fully mastering it. In some ways, Lynch's Dune actually got closer to the mind-bending strangeness of Herbert's novel; it had a touch of visionary madness that this movie could use a little more of.

Even though Villeneuve's Dune is incomplete by design, there's something odd and unsatisfying about the point at which it slams to a halt. Still, it duly whets your appetite for part two, assuming it gets made; that will depend on whether part one does well enough at the box office. I hope Villeneuve gets the chance to finish what he started. This first Dune may not be a great movie — or even half a great movie — but Dune the planet is gorgeous enough that I wouldn't mind a return visit.

• denis villeneuve

Notice: All forms on this website are temporarily down for maintenance. You will not be able to complete a form to request information or a resource. We apologize for any inconvenience and will reactivate the forms as soon as possible.

• DVD & Streaming

Dune: Part One

• Action/Adventure , Drama , Sci-Fi/Fantasy

Content Caution

In Theaters

• October 22, 2021
• Timothée Chalamet as Paul Atreides; Rebecca Ferguson as Lady Jessica Atreides; Oscar Isaac as Duke Leto Atreides; Jason Momoa as Duncan Idaho; Stellan Skarsgård as Baron Vladimir Harkonnen as Stephen McKinley Henderson as Thufir Hawat; Josh Brolin as Gurney Halleck; Javier Bardem as Stilgar; Sharon Duncan-Brewster as Dr. Liet Kynes; Chen Chang as Dr. Wellington Yueh; Dave Bautista as Beast Rabban Harkonnen; David Dastmalchian as Piter de Vries; Zendaya s Chani; Charlotte Rampling as Reverend Mother Gaius Helen Mohiam; Babs Olusanmokun as Jamis; Golda Rosheuvel as Shadout Mapes

Home Release Date

• December 3, 2021
• Denis Villeneuve

Distributor

• Warner Bros.

Movie Review

Duke Leto Atreides knows he’s walking into a trap.

But he has little choice.

The galaxy’s Emperor has instructed the Duke’s noble House Atreides to assume stewardship of the most important planet in the empire: Arrakis. Dune , the Desert Planet, as it’s known.

The sands of Arrakis blow hot and barren across its vast wasteland. But the sand also mingles with the universe’s most precious commodity: spice. The spice of Dune is not only a powerful hallucinogenic; it also enables Spacing Guild Navigators to bend time and space, making interstellar travel possible. Without the spice, there is no space travel—no trade, no empire, no anything.

Nothing matters more than spice.  

Receiving Arrakis would seem to be a great boon to House Atreides. But the planet’s oversight is being taken from the House Harkonnen, led by its grotesquely bloated Baron. He’s none too happy to have his monopoly given to another House—even if that supposed gift is part of a bigger plan on the part of the emperor to wipe out the increasingly formidable House Atreides.

Indeed, the myriad armies of House Atreides—led by the fierce soldiers Gurney Halleck and Duncan Idaho—have barely arrived in the capital city of Arrakeen when the trap begins to snap shut. And brutally so. It seems the Duke’s lineage—represented by his son Paul, who’s barely come of age—will be wiped out.

But all is not as it seems on Dune. Beneath the shifting, sweltering sands, harbored in island-like rock outcroppings in the deep desert, an indigenous people known as the Fremen await the coming of a messiah. It’s been foretold that he will lead them into glorious battle against their outworld oppressors, securing their freedom.

Whispers among the people even suggest that young Paul Atreides could be that long-awaited savior and deliverer.

If, that is, the heat, the Harkonnens and the sandworms don’t kill him first.

Positive Elements

Duke Leto is a man and leader of nobility and honor. Morally speaking, House Atreides is the polar opposite of House Harkonnen. Leto knows that the emperor’s “gift” is not what it seems; he knows the Harkonnens quite likely lie in wait for him; yet he obliges his emperor and prepares to receive the stewardship of Arrakis anyway—bravely taking a place of leadership on a brutal world surrounded by equally brutal rivals.

The Duke deeply loves his son, Paul. Speaking of leadership, he tells Paul, “A great man doesn’t seek to lead. He’s called to it. And he answers.” Then the Duke adds, “And if your answer is no, you’ll still be the only thing I ever needed you to be: my son.”

Paul has, not surprisingly, has received the best martial tutelage from the legendary warriors Duncan Idaho and Gurney Halleck. Indeed, both of these men strive to train, equip and encourage Paul to be prepared for any threat. At one point, Gurney charges into hand-to-hand combat training with the young man after Paul says he’s not in the mood. “Mood?!” Gurney exclaims. “What’s mood got to do with it? You fight when necessity arises, no matter what the mood.” And as the Harkonnens bring the fight to the House Atreides, Gurney and Duncan both serve heroically in defense of their liege.

The Duke has a longstanding love relationship with Lady Jessica, his concubine. Indeed, the Duke regrets never having married her (which he says to Jessica at one point). Jessica’s loyalty to and love for Paul likewise is as fierce as Duke Leto’s.

The Fremen, we learn, are a mysterious, semi-nomadic desert people who live by their own code of honor. At times it’s a deadly one, as we’ll see below.

One character, Dr. Liet Kynes, is an Imperial Planetologist who also serves as the Judge of the Change—the handover of power between the Harkonnens and the Atreides. She is supposed to be steadfastly neutral, but she, too, ultimately proves a heroic character when the Harkonnens attack.

In fact, there’s no shortage of heroism here all around—from the Duke, to Paul, to Jessica, to nearly all of the major Atreides characters—as they try to resist getting caught in the trap that’s been set for them.

Spiritual Elements

Two distinct streams of spiritual belief mingle throughout the story of Dune .

Jessica is a member of a shadowy-but-influential female religious order known as the Bene Gesserit . But she’s sought to train Paul, illicitly, in the ways of her religious tradition.

The Bene Gesserit have a variety of abilities. First, they use something called the Voice, which exerts powerful mind control over those who hear it. Second, we hear whispers of these soothsayers ability to foresee the future—as well as of their limited ability and boundless determination to shape it.

The Bene Gesserit form an organized religious force that plays an important role in sustaining and affirming the Emperor’s power. But it’s equally clear that the Bene Gesserit have their own agenda at work, too. As a whole, they’re not depicted as a force for good, but a group to be feared and distrusted because of their shadowy, duplicitous ways.

We also hear a few whispered mentions of a prophesied Bene Gesserit male leader known as the Kwisatz Haderach. The chief leader of the Bene Gesserit accuses Jessica of trying to give birth to this foretold leader.

Jessica quotes a famous Bene Gesserit proverb: “I must not fear. Fear is the mind-killer. Fear is the little-death that brings total obliteration. I will face my fear. I will permit it to pass over me and through me. And when it has gone past I will turn the inner eye to see its path. Where the fear has gone there will be nothing. Only I will remain.”

In some respects, you could perhaps identify loose narrative parallels between the Bene Gesserit’s depiction here and the medieval Catholic Church’s intertwined (and sometimes compromised) relationship with political powers in the Middle Ages. The Bene Gesserit sect has largely been corrupted by power but is ruthlessly determined to hang on to it.

The second religious thread in the story is the Fremen’s religion. These desert-dwelling people’s faith is depicted in a more pure and holistic way. If the Bene Gesserit are corrupt, the Fremen seem to be true believers in their convictions. The Fremen’s desert garb, their speech and their patterns of religious devotion also bear superficial resemblance to Islam and Arabic desert culture. The Duke’s warrior Duncan Idaho says of the Fremen’s martial ferocity, “They fight like demons.”

The Fremen, as mentioned above, have a prophecy about a leader who come from off-world to liberate them. Paul, some of theme think, could be that longed-for spiritual liberator.

Spice is described as a hallucinogenic agent. That said, for the Fremen (whose eyes are blue due to consuming it), it takes on a more mystical capacity than simply being a recreational drug. Paul has several spice-induced visions, as well as prophetic dreams of meeting a young Fremen woman named Chani. Spice is also integral to the Spacing Guild’s ability pilot spacecraft between worlds.

The Fremen seem almost to worship Dune’s great sandworms, whom they call “Makers.” Someone says, “Blessed be the Maker and his water.” Another character exclaims elsewhere, “God in heaven.”

Sexual Content

Several women wear translucent, clingy gowns with, apparently, not much on beneath. Paul dreams of kissing Chani. The Duke and Lady Jessica are shown, fully clothed, in bed together. Paul’s shown shirtless. A man who’s been drugged is also naked and sitting in a chair. We see the entirety of his bare side, but nothing critical. One scene also depicts quite a lot of the Baron’s prodigiously bare flesh.

Violent Content

Violence—and the threat of violence—permeates the world of Arrakis.

We see some brutal hand-to-hand combat in a massive battle on the planet. The body count here is high, and more than once we see blood-slicked swords in soldiers’ hands. That battle also includes an air-to-surface bombardment of the capital city, including the use of powerful explosives to fully breach the shield wall surrounding the city’s vulnerable entrance.

The intensity of this battle is still within PG-13 territory, but it pushes further in its grimness and blood-stained weaponry than most comparably rated sci-fi, fantasy or superhero flicks. It has a grim and foreboding feel to it that makes the combat here feel much more realistic and tragic. That’s especially true when Baron Harkonnen’s barbaric henchman, Beast Rabban, beheads a line of soldiers before him. (We see the blade begin to fall, but not the actual executions.)

Paul’s mother is threatened by a group of Harkonnen soldiers who talk of raping her before she brutally kills all of them. One of Paul’s visions repeatedly pictures a young woman with blood on her hands. Paul has dreams of—and is haunted by—images of him leading a religious holy war in which his warriors kill myriad people on different planets, all in his name.

Multiple other characters are stabbed and killed, and we see their pained expressions in the process. Likewise, Paul is forced to fight an honor duel of sorts. Paul and the man battle to the death.

The older priestess also gives Paul Atreides a test involving a box into which he places his hand. If he removes his hand for any reason before she allows him to do so, she has a poisoned needle at his neck called the gom jabbar to kill him. The test is to see whether he is a “human” or an “animal.” The latter, the priestess says, will chew off his leg to escape a trap. A human won’t do that. Paul leaves his hand in the box, even though he’s certain it’s being burned up by fire.

Someone unleashes an aerosol poison that kills many people. Tiny, syringe-like drones seek to assassinate people. Enormous, toothy sandworms attack (and don’t leave anything behind). A light aircraft crashes after flying into the teeth of a duststorm. Multiple characters are executed.

Crude or Profane Language

Duncan Idaho quotes a Fremen saying: “To shower, you scrub your a– with sand.” We hear single uses each of the s-word, “d–n” and “my god.”

Drug and Alcohol Content

We hear references to spice as noted above.

Other Negative Elements

Paul repeatedly lies about prophetic dreams he’s been having. There’s a great betrayal that makes the Harkonnen’s invasion of Arrakeen possible.

Frank Herbert’s epic Dune , published in 1965, is (arguably) to sci-fi what Lord of the Rings is to fantasy. This sweeping saga encompasses a riveting tale of politics, revolution, religion, love, loyalty and interstellar civil war as one young man slowly dons the mantle of messiah that has been thrust upon him.

If that sounds like a lot to cram into one movie, it is. So be forewarned: This story only makes it through about half of Herbert’s first book in the series—and that after some 2 hours and 35 minutes of run time.

Dune has infamously resisted translation to the cinematic format. The 1984 version, directed by none other than David Lynch, has been both mocked and adored—the latter for its pure absurdity at certain points. A miniseries in 2000 paid closer attention to the source material yet largely failed to generate adulation among the Dune faithful.

And now Canadian director Denis Villeneuve (Blade Runner 2049, Arrival) has stepped up to the plate. Given the inherent density of Herbert’s seminal novel, I suspect that this spectacularly filmed movie will still appeal more to those who’ve read the book than those who haven’t. More so than his predecessors, however, Villeneuve has managed to capture the essence of the story, the tale of a young man thrown into a brutal world and called to be its unlikely savior.

(Plus, of course, sandworms. Very nicely executed here, those.)

As far as Plugged In’s perspective is concerned, this PG-13 film pushes the boundaries of that rating in its grim violence. This is a dark story, one of betrayal and death that is not much redeemed in this first installment. Blood flows, as evidenced by plenty of the slick red stuff coating combatants’ blades.

And then there’s all that spiritual stuff—and there’s a lot of it here. Though both the Bene Gesserit religion and that of the Fremen are fictional ones, it’s not hard to draw parallels between existing belief systems in our world. Here, religion serves, paradoxically, as both the sustainer of the status quo and the spark of revolution coming against it.

There’s plenty of fodder for discussion in that tension, which I suspect is exactly what Herbert intended. And Villeneuve has captured that tension effectively here. But families with younger fans of the book may want to think carefully before seeing this version of Frank Herbert’s iconic story.

Adam R. Holz

After serving as an associate editor at NavPress’ Discipleship Journal and consulting editor for Current Thoughts and Trends, Adam now oversees the editing and publishing of Plugged In’s reviews as the site’s director. He and his wife, Jennifer, have three children. In their free time, the Holzes enjoy playing games, a variety of musical instruments, swimming and … watching movies.

Latest Reviews

Summer Camp

Furiosa: A Mad Max Saga

Weekly reviews straight to your inbox.

Dune (2021) Movie Review – A big, bold, beautiful piece of science fiction that deserves to be seen on the biggest screen possible

A big, bold, beautiful piece of science fiction

Sand. It gets everywhere. In all the cracks. Although despite the abundance of sand in this sweeping spectacle of a movie, there are no real cracks to show. Dune is a tightly crafted adaptation of Frank Herbert’s 1965 work and is much better than David Lynch’s 1984 adaptation which was beautiful to look at but flawed, largely due to the studio interference that scuppered the Twin Peaks directors’ vision.

There are no signs of studio interference with this latest release. Denis Villeneuve, who has already proven his ability to create a piece of science-fiction on an epic and thoughtful scale with Arrival and Blade Runner 2049 , is clearly calling all the shots with his version of Dune . The film is big, bold, visually fantastic, and perfectly in tune with a director who has imagination to spare.

By all accounts, this is a faithful adaption of the novel (I read it as a kid but can’t remember much about it), even though it doesn’t cover every event from the original story. A second chapter covering the remainder of the novel will (if everything goes to plan) be released at some point in the future. This is a good thing as it has given Villeneuve the opportunity to take his time with the world-building the story deserves. If the entire novel had to be squeezed into one film, it would have surpassed its already long running time (2 hours and 35 minutes), and certain key scenes may have been missed if the studio decided to aim for brevity.

The film chronicles the story of Paul Atreides (Timothée Chalamet), who has his destiny changed forever when his father, Duke Leto Atreides (Oscar Issac), accepts control of the desert planet Arrakis. Leadership over the planet is seen as important as it is the source of ‘spice,’ one of the most valuable substances in Frank Herbert’s universe.

The drug is highly sought after for its mystical and medicinal properties although access to it isn’t easy due to the giant sandworms that are responsible for its production.

If you’re expecting an action-heavy sci-fi epic in line with Star Wars , you are going to be disappointed here. George Lucas was clearly inspired by Frank Herbert’s novel but his was a more boys own adventure than this serious-minded affair. The similarities are many.

Both pieces of fiction have a desolate desert planet, forces that give their users mental and physical abilities, political factions that serve both good and evil causes, and a young man cited as the ‘chosen one.’ But in Herbert’s work (and the film adaptation), there are very few attempts at humour (there are no comical droids to fall back on for light relief here) and the focus is on conversation and not gun battles and space combat.

This isn’t to say there is no action in the film at all. Villeneuve stages some impressive set pieces, including a brilliant sandworm attack and cleverly orchestrated fight scenes featuring Jason Momoa’s swordmaster. But in between these thrilling bursts of action, there is a lot of self-reflection, ominous political conversation, and dialogue exposition that is largely there to explain the workings of the Duniverse to the audience. Such scenes aren’t necessarily boring, although they may stretch the patience of those who want light relief from the film’s sombre tone.

For lovers of the original work, the film will be immensely satisfying. All the core ingredients of the novel are here, including the backstabbing politics and Paul Atreides visions of his messiah-like future. Most of the major characters of the novel are given time to make an impression, including Lady Jessica, Paul’s mother.

Played by Rebecca Ferguson with the required amount of tenderness, she introduces her son to the powers he can wield, including a powerful voice power that equals the Force for controlling the will of others. Other characters also make an impact, including Duncan Idaho (the aforementioned Jason Momoa) as the sworn protector of House Atreides and weapon master Gurney Halleck (Josh Brolin) who trains Paul in the way of combat.

Those not au fait with Herbert’s novel may struggle with some elements of the film. The tone is heavy and portentous, and the political workings of the story are a little confusing. The latter isn’t a problem as a rewatch will bring about a greater understanding of the people and opposing powers within the film’s story. However, those looking for something easy to watch on a Friday night may start to become frustrated by the overwhelming nature of it all.

Everything, from the striking visual spectacle of the greater universe to the wailing choirs present in Hans Zimmer’s score, adds to the sweeping scale that Villeneuve is trying to create. This is all impressively mounted but those not hypnotized by the director’s grand vision may find it all a little too much.

I thoroughly enjoyed the film, despite its length and the sometimes complicated cosmic politics. I enjoyed the rich visual detail, the throbbing music score, and the performances of the supremely talented cast.

When one character informs Paul at the end of the film that “this is just the beginning,” I was excited that this was also a promise to the viewer that there was more to come. It is rare to see a piece of sci-fi on this scale and if you’re willing to buy into the story, despite the self-important tone and sometimes incomprehensible dialogue, I’m sure you will enjoy this too.

Feel free to check out more of our movie reviews here!

• Verdict - 8/10 8/10

Leave a comment

Save my name, email, and website in this browser for the next time I comment.

Things you buy through our links may earn  Vox Media  a commission.

Dune Doesn’t Care If You Like It

Vulture is recirculating its coverage of Dune in celebration of the epic’s long-awaited release on HBO Max and theaters .

Sandworms, the signature creation of Frank Herbert’s Dune series, are colossal beings that live in the deserts of the planet Arrakis, which the worms travel through the way a shark might through water. Their dominance over the land has them alternately revered and feared by the different human populations who also live there, carving out lives in the unforgiving environs. The worms are drawn to anything out on the sand, capable of sensing vibrations from far away, and emerge from underneath their targets, the ground giving way to a gaping maw for anyone unfortunate enough to be in the area. When David Lynch directed his ill-omened 1984 adaptation of the original 1965 novel, he gave his sandworms multi-lobed mouths that opened like monstrous flowers, much like they had in John Schoenherr’s dust-jacket illustrations. It’s a dependable method for making anatomy look ominous — just have it look like a toothy vulva — but it’s not an approach Denis Villeneuve replicates in his own sumptuous and strange new take on Herbert’s source material.

Villeneuve’s sandworms, like so many details of his new movie, strive to come across as genuinely otherworldly and from a context other than our own. They have a tunnel-like quality that’s organic only in the sense that microscopic organisms that turn out to be nightmare fuel when given their close-up are still organic, ending abruptly in circular jaws that are permanently agape and ringed by a filter made up of rows of needle-like teeth. When Paul Atreides (Timothée Chalamet), Dune ’s reluctant messiah figure, has an encounter with one after fleeing into the desert, the worm lifts its massive noggin out of the drifts right in front of him, and he stares into its unseeing countenance in a moment that’s meant to be electric with the terrifying majesty of this utterly alien life-form. But, gazing into that eyeless hole with clenching interiors glimpsed in its shadowy depths, it might also cross your mind that the reimagined worm left its old vagina dentata influences behind only to end up resembling a giant asshole.

The human imagination is not as limitless as we like to pretend, and it’s funny how often, in trying to get beyond the boundaries of the known, we just end up circling back to our own privates. That’s the challenge of science fiction, to create a real sense of distance and otherness when so much of storytelling rests on evoking the familiar. It’s a challenge that Dune takes up with an admirable and maybe doomed determination, rendering Herbert’s rival intergalactic aristocrats and space witches on an awe-inspiring, gloriously unfriendly scale. Herbert himself didn’t build his world from scratch: The squabbled-over Arrakis, the only source for a substance called spice that’s essential to interstellar travel, is at the heart of what are basically oil wars writ large. And Dune does have the contours of a space opera, with its sand monsters and ghoulish villains and fine-boned princeling destined to meet the literal woman of this dreams — Chani, a member of the indigenous Fremen population played by Zendaya, who will presumably get more to do if the sequel actually happens — and lead humanity toward a better future. But Villeneuve isn’t interested in making a swashbuckling romantic adventure that happens to have sci-fi trappings.

His 2016 film Arrival was about trying to communicate with extraterrestrials who experience existence in an entirely different way from us, and Dune is bent on depicting a far future humanity in which traces of the familiar — bagpipes played at a ceremony, an ancestor’s penchant for bull-fighting — just end up emphasizing how distant the characters’ desires and motivations can be. They aren’t entirely inscrutable: Oscar Isaac plays Paul’s father, Duke Leto Atreides, as a careworn but kind ruler who’s aware he’s being steered into a trap when asked to take over Arrakis. Leto’s trusted military advisers, Duncan Idaho (Jason Momoa) and Gurney Halleck (Josh Brolin), serve as surrogate fond old brothers and stern uncles to Paul, while as Paul’s mother and Leto’s concubine Lady Jessica, Rebecca Ferguson embodies the fretful tension of a woman torn between protecting her son and preparing him to face unavoidable danger. But Jessica also happens to be a loyal member of the Bene Gesserit, a matriarchal order of psychic women who manipulate politics while masterminding an unfathomable multi-century breeding program to create the Kwisatz Haderach — a messiah who may or may not be Paul.

The most daring aspect of Dune is not that it only tells half a narrative, or that it opts to immerse its audience in its richly rendered universe, assuming they can keep up without guide ropes. It’s carried pretty far on the strength of spectacle alone, with its spaceships hanging impossibly still in the air, its thrumming Hans Zimmer score, and its pallid antagonist, Baron Vladimir Harkonnen (Stellan Skarsgård channeling Marlon Brando’s Colonel Kurtz), floating around on anti-gravity boosters like a menacing balloon. No, the most daring aspect of Dune is how much unease it creates around the idea of a chosen one, from the Leni Riefenstahl–inspired military ceremony in which Leto and Paul receive their commission to take care of Arrakis to the fact that Paul is the product of eugenics. It begins with Chani talking in voiceover about the colonization of the Fremen’s land and the oppression they’ve experienced at the hands of rapacious outsiders, and then turns to a white savior whose greatness is entirely synthetic, engineered via planted prophecies and genetic manipulation. Paul’s reluctance to fall into the role created for him isn’t the usual self-doubt, but the dread of someone who begins to believe he’s meant to initiate a holy war. Being the hero of the story has never looked so poisoned, and that alone is thrilling enough to hope Villeneuve gets to make part two of this impressively batshit venture.

More From TIFF

• Spencer Is a Portrait of a Princess Too Sane to Play the Royals’ Game
• Dune , Reviewed by Someone Who Popped an Edible Beforehand
• The Eyes of Tammy Faye Is All Eyelashes, No Teeth
• movie review
• denis villeneuve
• timothee chalamet
• toronto film festival

Most Viewed Stories

• Cinematrix No. 92: June 26, 2024
• The Best and Weirdest of Phish, According to Trey Anastasio
• A Timeline of the Allegations Against West Side Story ’s Ansel Elgort
• Dr. Disrespect Finally Addressed His Ban From Twitch
• Yes, They All Broke Up
• House of the Dragon Recap: Brothers In Arms
• Dark Matter Season-Finale Recap: Crisis on Infinite Jasons

Editor’s Picks

Most Popular

What is your email.

This email will be used to sign into all New York sites. By submitting your email, you agree to our Terms and Privacy Policy and to receive email correspondence from us.

Sign In To Continue Reading

Create your free account.

Password must be at least 8 characters and contain:

• Lower case letters (a-z)
• Upper case letters (A-Z)
• Numbers (0-9)
• Special Characters (!@#$%^&*)

As part of your account, you’ll receive occasional updates and offers from New York , which you can opt out of anytime.

• Stranger Things Season 5
• Deadpool and Wolverine
• The Batman 2
• Spider-Man 4
• Yellowstone Season 6
• Fallout Season 2
• The Last of Us Season 2
• Entertainment

Digital Trends may earn a commission when you buy through links on our site. Why trust us?

10 best sci-fi book-to-movie adaptations, ranked

Sci-fi is a popular genre in literature due to its thought-provoking nature. Beyond thrilling adventures through space or fantastical realms, sci-fi books explore profound topics like the potential impact of artificial intelligence, the challenges of space exploration, and the ethical dilemmas of scientific progress. Fueled by these themes, readers are left to think beyond the page and imagine what the future holds.

10. The Hunger Games (2012)

9. the war of the worlds (1953), 8. annihilation (2018), 7. dune (2021), 6. the martian (2015), 5. jurassic park (1993), 4. interstellar (2014), 3. the iron giant (1999), 2. children of men (2006), 1. 2001: a space odyssey (1968).

That’s why sci-fi books are popular source materials in the realm of film — they bring extraordinary worlds, characters, and stories to life in a way books can’t. With breathtaking visuals and immersive sound design, sci-fi movies allow audiences to truly experience stories like a televised battle royale in a dystopian world, the invasion of terrifying alien creatures, and the thrill of being sucked into a black hole. 

Based on Suzanne Collins’ hit young adult novel, The Hunger Games sees a brave young woman named Katniss Everdeen volunteering to join a televised death match. Alongside her fellow tribute, Peeta Mellark, Katniss uses her resourcefulness and valor to survive the treacherous arena, making alliances and enemies along the way. 

Fans of the book, as well as those who weren’t familiar with it, were impressed by the adaptation. The film does an excellent job of capturing the bleak world of the books, especially during emotional scenes like the Reaping and the death of a beloved character. The Hunger Games balances action with moments of character development and social commentary, making it a must-watch sci-fi book-to-movie adaptation for viewers of all ages. 

Stream The Hunger Games  on Apple TV+.

H.G. Wells’ influential sci-fi novel comes to life in The War of the Worlds . In it, a scientist named Dr. Clayton Forrester becomes a reluctant hero when he witnesses the arrival of Martian war machines that lay waste to Earth. Alongside his lover, Sylvia Van Buren, Forrester desperately searches for a way to defeat the seemingly invincible invaders in a riveting fight for survival.

For its time, the film’s special effects were groundbreaking as that viscerally showcased the Martian war machines’ destructive power. Byron Haskin’s masterful adaptation of the sci-fi novel transcends the genre as it explores humanity’s ingenuity and desire for survival, becoming a reminder that even in the face of seemingly insurmountable threats, the human spirit endures.

Stream The War of the Worlds   on Prime Video. 

Based on Jeff VanderMeer’s visionary novel, Annihilation takes viewers on a suspenseful journey into the unknown. Biologist Lena joins a daring team venturing into “The Shimmer,” a mysterious and ever-expanding zone where the laws of physics seem to break down. As they explore deeper, the team encounters bizarre mutations in the flora and fauna, with each discovery more unsettling than the last. 

Annihilation keeps viewers on the edge of their seats with its suspenseful buil-up to an enigmatic climax. Deep within The Shimmer, Lena confronts a strange entity, leaving the true purpose and nature of the zone shrouded in mystery. The scene with the horrifying, scream-mimicking bear exemplifies the film’s ability to blend body horror with moments of profound sadness. Annihilation is an excellent adaptation as it isn’t afraid to dive deep into the novel’s core themes of self-destruction and transformation, making for an emotionally resonant experience for every viewer. 

Stream Annihilation on Paramount+. 

In 2021, visionary director Denis Villeneuve took on the monumental task of adapting Frank Herbert’s legendary Dune . In the epic sci-fi saga, House Atreides unexpectedly finds itself betrayed by the Imperium and attacked by House Harkonnen after being bestowed the desert planet Arrakis. Without an army and left to survive in the harsh environment of the planet, Paul Atreides and his mother must make their way to the Fremen, the indigenous people of Arrakis. 

Burdened by visions of the future and burgeoning superhuman abilities, Paul’s fate hangs in the balance. While it’s not entirely faithful, Dune is an adaptation that works on all levels. Critics and audiences have lauded Villeneuve’s meticulous approach, which brings Frank Herbert’s world to life with stunning visuals. Moments like the Gom Jabbar test and the sandworm encounter have been delivered with a level of detail and intensity that immerses viewers in Paul’s harrowing experiences.

Stream Dune on HBO Max. 

Ever wondered what it takes to survive alone on Mars? Ridley Scott’s The Martian , based on Andy Weir’s gripping novel, throws astronaut Mark Watney into this very predicament. Presumed dead after a ferocious Martian storm, Watney finds himself stranded on the red planet. But Mark is no ordinary astronaut. Drawing on his ingenuity and botanical expertise, he cultivates food in the barren Martian soil, defying the odds and demonstrating the power of human resourcefulness. 

The film’s commitment to scientific accuracy is evident — from consulting NASA experts on Martian conditions to ensuring the potato-growing process is realistic. Stunning visuals showcase the stark beauty of the red planet, while meticulous attention to detail in space technology adds to the film’s immersive quality. More than just getting the science right, the movie is injected with humor and has a relatable protagonist that everyone can root for.

Stream The Martian on TruTV.

Can science bring dinosaurs back from extinction? Should it? Steven Spielberg’s Jurassic Park wades into these ethical quandaries. The movie tells the story of the ambitious John Hammond, who creates a theme park populated by cloned dinosaurs. To showcase his achievement, he invites a team of experts, including paleontologists Dr. Alan Grant and Dr. Ellie Sattler. But when the park’s security systems fail, the experiment becomes a matter of life and death as the dinosaurs rampage free.

The story escalates into a desperate fight for survival, as a colossal T. rex attacks the tour vehicles, leaving a trail of destruction in its wake. But the nightmare doesn’t end there. The cunning velociraptors launch a relentless pursuit, forcing those who are alive to use all their skills and ingenuity to survive. Jurassic Park is an unforgettable cinematic experience, a landmark blend of action, wonder, and cautionary tale about the power of science. No wonder Jurassic Park has spawned a successful movie franchise . 

Stream Jurassic Park on Peacock. 

In Christopher Nolan ‘s Interstellar , love becomes a lifeline across the desolate expanse of space. As Earth succumbs to an ecological disaster, a single flicker of hope remains in the form of a wormhole near Saturn. An astronaut named Cooper leads a daring mission through the cosmic anomaly, carrying the weight of humanity’s future on his shoulders. His odyssey becomes a grand exploration of the cosmos as he confronts the awe-inspiring mysteries of black holes and the mind-bending effects of time dilation. 

Interstellar is lauded for its grounded portrayal of space travel, particularly the mind-bending effects of relativity. Sequences like the black hole Gargantua and the time dilation on the water planet attempt to highlight its scientific accuracy. Interstellar also takes on questions about the nature of time and the possibility of venturing beyond our solar system. Throughout the film, viewers are left to wonder: Will Cooper find a way to connect with his loved ones across vast distances and secure humanity’s future, or will they be forever separated by the vastness of space?

Watch Interstellar on Prime Video. 

Imagine befriending a 50-foot metal giant! That’s the extraordinary premise of The Iron Giant , a heartwarming animated film based on Ted Hughes’ novel. Taking place during the Cold War of the 1950s, the story centers on young Hogarth Hughes, who discovers a massive, sentient robot hiding near his town. As Hogarth forms a unique bond with the Iron Giant, he must protect it from a paranoid government agent who sees the robot as a threat. 

Critics have praised the movie for its emotional depth and timeless messages. The animation, blending traditional and computer-generated techniques, creates a visually stunning backdrop for the story. The Giant’s final act of sacrifice, with him saying the line “You stay. I go. No following,” stands as one of animation’s most heartbreaking moments. Despite being a box office flop, The Iron Giant has become a cult classic due to its touching story and excellent hand-drawn animation. 

Rent The Iron Giant on Apple TV+. 

English author P.D. James is known for detective novels like Death in Holy Orders and The Murder Room , but perhaps her most famous movie adaptation is Children of Men . In it, humanity faces a chilling reality — global infertility. Theo Faron, a jaded bureaucrat thrust into a life-or-death mission, is tasked with protecting the world’s only pregnant woman. He must navigate a crumbling society and ruthless forces to safely deliver her to a rumored sanctuary. 

This dystopian masterpiece by Alfonso Cuarón weaves a tapestry that reflects the anxieties of our times — immigration, terrorism, and environmental collapse. It’s elevated by iconic single-take action sequences, like the escape from a refugee camp, which plunge viewers into the heart of the film’s chaotic urgency. The movie dares to ask: In the face of such a bleak future, could a single glimmer of hope, like the arrival of a new life, reignite humanity’s will to survive?

Rent Children of Men on Apple TV+.

Stanley Kubrick was always an innovator who aimed to redefine what a movie can be. This is evident in his 1968 film 2001: A Space Odyssey , which is an adaptation of Arthur C. Clarke’s story The Sentinel . Mysterious monoliths appear throughout history, seemingly influencing human progress. The movie focuses on the Discovery One spacecraft, manned by Dr. Dave Bowman and Dr. Frank Poole. Their mission takes a turn when the advanced AI, HAL 9000, begins to malfunction. 

As tension mounts and a deadly confrontation unfolds, the film culminates in a mind-boggling sequence where Bowman transcends space and time. 2001: A Space Odyssey is an unforgettable exploration of humanity’s past, present, and future. As the film journeys from prehistoric origins to the exploration of Jupiter, it tackles complex themes like evolution, artificial intelligence, and the mysteries of the universe. This Kubrick masterpiece continues to cast a long shadow, influencing generations of filmmakers and captivating audiences even today.

Stream 2001: A Space Odyssey on HBO Max. 

Editors' Recommendations

• The 10 most popular movies on Netflix right now
• Best new movies coming to theaters in 2024
• The 10 best movies on Tubi right now (June 2024)
• 5 best underrated action movies to watch on Father’s Day
• 10 best Amazon Prime Video movies to watch on Father’s Day

Any dad worth his salt has at least a small soft spot for the war movie. The stereotypical father is likely obsessed with military history, and loving a great war movie goes part and parcel with understanding these fights and how they really unfolded.

If you're looking for great war movies, there's plenty of them to be found on Netflix. Picking the right one to check out this Father's Day might be a challenge, though, which is why we've put together this list of the perfect titles to choose from as you settle in for this year's festivities. 1917 (2019) 1917 - Official Trailer [HD]

The end of the month is coming up fast, and Hulu subscribers need to start making their viewing plans now. This streaming service may have the best movies in the Disney media empire, but it can't hold them forever. Some of these films are also on loan from other studios, so we can't guarantee that they'll ever be coming back to Hulu in the future.

You may notice that our selections for the five great movies leaving Hulu in June 2024 that you have to watch now are very action heavy. That's because most of the films leaving Hulu on June 30 are action oriented. We just picked the best of the bunch, as well as a comedy movie for a change of pace. But it's hard to go wrong with our choices, several of which were blockbusters when they played in theaters. The Batman (2022)

For the first time in 35 years, the 2024 NBA Draft will be split into multiple days. The first round takes place on Wednesday, June 25, while the second round will be on Thursday.

Round 1 (Wednesday, 7:30 p.m. ET start time) will be televised on both ESPN and ABC, while Round 2 (Thursday, 4 p.m. ET start time) will be on ESPN. But if you don't have cable and want to stream NBA without cable, here are all the best ways you can watch a live stream of the NBA draft for free or cheap. Is there a free NBA Draft 2024 live stream?

We're halfway through 2024. Here are the 10 best movies of the year (so far).

The sauciest tennis movie maybe ever. A queer bodybuilding revenge thriller. A very different Bible tale.

When it comes to the films of 2024, these are a few of our favorite things.

Last year was an amazing year for movies . This year, though, has been a little rough. People are freaking out over box-office receipts, and high-profile flicks – most recently, "Furiosa: A Mad Max Saga" and "The Garfield Movie" – aren't exactly raking in the cash; in fact, only five films in 2024 have cleared the $100 million bar domestically. And the movies themselves have been just OK on the whole. Usually, Hollywood backloads the really good stuff, and after " Madame Web ," "Argylle" and other rather middling fare, more quality is desperately needed.

Thankfully, there have also been some standouts. Here are 2024’s best movies so far, definitively ranked:

Join our Watch Party! Sign up to receive USA TODAY's movie and TV recommendations right in your inbox

10. 'The First Omen'

"The Omen" franchise receives a nice refresh with this prequel to the original 1976 movie. Nell Tiger Free stars as a young American novitiate at an Italian orphanage who becomes embroiled in a rogue Catholic Church conspiracy to birth the antichrist. There's plenty of nun horror and a jaw-droppingly gonzo finale, but feminist undertones and a timely take on religion bring depth and relevance to a demonically effective chiller.

Where to watch: Hulu , Disney+.

9. 'The Book of Clarence'

Jeymes Samuel's thoughtful and subversive take on the biblical resurrection story stars LaKeith Stanfield as Clarence, a streetwise Jerusalem man in Jesus' time. Seeing the power and swagger Jesus has, Clarence proclaims himself "the new messiah," tries his hand at miracles and runs afoul of the Romans in a spiritually touching Everyman story anyone can relate to, whether you’re a believer or not.

Where to watch: Netflix .

8. 'Late Night With the Devil'

David Dastmalchian makes everything he's in better, from the "Ant-Man" movies and "The Suicide Squad" to "Oppenheimer" and "The Boogeyman." He gets a hell of a lead role in this discomforting and mind-bending retro horror movie, starring as a 1970s late-night TV host who is tired of losing in the ratings to Johnny Carson and brings on a supposedly possessed girl in a Halloween gambit that spirals supernaturally out of control.

Where to watch: Shudder.

7. 'Drive-Away Dolls'

Director Ethan Coen's goofball crime comedy is a playfully madcap turn on the “Thelma & Louise” model, with Geraldine Viswanathan and Margaret Qualley playing lesbian friends needing to get away from their everyday lives. Driving a rental car to Florida, they find something weird in the trunk and wind up on a campy, noir-spattered road trip. (Extra cool points for including a fun bit from cameo king Matt Damon.)

Where to watch: Peacock.

6. 'Furiosa: A Mad Max Saga'

In the prequel to "Mad Max: Fury Road," Anya Taylor-Joy takes over Charlize Theron's title role as young Furiosa embarks upon an epic revenge quest that involves vehicular mayhem, explosive action sequences, rampant road rage and the weirdest villain Chris Hemsworth will probably ever play . It's no "Fury Road" but "Mad Max" mastermind George Miller again delivers a wild and worthy dystopian thrill ride through the Wasteland.

Where to watch: In theaters.

5. 'Hit Man'

Glen Powell may be a rising star after "Top Gun: Maverick" and "Anyone But You," but the real talent scouts have been on board since his wise ballplayer in Richard Linklater's "Everybody Wants Some!!" They team again for an irresistible noir comedy and Powell's most wide-ranging role to date, a nerdy philosophy professor who moonlights as a fake assassin on cop crime stings and falls for a "client" (Adria Arjona) wanting to off her hubby.

Where to watch: In theaters and on Netflix .

4. 'Challengers'

Just when you think sports movies are all the same, director Luca Guadagnino ("Call Me By Your Name") serves up an art-house topspin with his engaging, hot-blooded tennis melodrama . Mike Faist and Josh O’Connor star as young doubles partners and Zendaya is the teen singles sensation who creates an emotionally complicated love triangle that unfolds in fierce fashion on and off the court over several tumultuous years.

Where to watch: Apple TV , Fandango at Home , Amazon.

3. 'Love Lies Bleeding'

Eyes lock between pumped-up Midwestern bodybuilder Jackie (Katy O'Brian) and introverted gym manager Lou (Kristen Stewart) and a love connection sparks. Then everything falls apart, and bodies start hitting the ground, in director Rose Glass' sultry, sweaty and sufficiently bizarre neo-noir thriller . Come for the bullets and barbells, stay for O'Brian's fantastic star-making turn, deftly capturing the troubled soul underneath Jackie’s muscles.

Where to watch: Apple TV , Fandango at Home , Amazon .

2. 'Civil War'

With his riveting cautionary tale , director Alex Garland takes our current political and cultural divide to a disturbing place and makes audiences confront what an actual modern civil war would look like. The thriller doubles as a journalism movie, too, with Kirsten Dunst turning in an outstanding performance as a world-weary photographer who takes a rookie (Cailee Spaeny) under her wing on the dangerous road to a scoop for the ages.

1. 'Dune: Part Two'

For a much-anticipated epic sci-fi movie, director Denis Villeneuve's 2021 "Dune: Part One" was aggressively average. (Heck, that David Lynch "Dune" was more enjoyable.) But all is forgiven now, Denis: "Part Two" is a sprawling, sandworm-filled triumph . Timothée Chalamet finally finds his way as the messianic Paul Atreides – plus digs into the thorny issues that come with being a savior figure – in a gripping, action-packed sequel exploring power, colonialism and religion.

Where to watch: Max .