Godzilla x Kong: The New Empire

 

This review may contain spoilers!

 

Godzilla x Kong: The New Empire is the direct sequel to Godzilla vs. Kong (2021) and the fifth entry in Legendary's Monsterverse. In this film we journey with Kong as he explores his new home of Hollow Earth, a strange subterranean pocket dimension within Earth. As Kong grows closer to discovering a secret about his kind, we come to see Godzilla slowly preparing itself for a new great threat to our world. It will take the combined forces of Godzilla, Kong and the humans of MONARCH to take on the latest threat.

 

These movies have been begging for a bit more adventure to them for a little while now. In the last feature we were promised a pretty decent fight between Godzilla and Kong but the story just wasn't there around those action scenes. In this film, we start with Kong and get to stay with him on and off the whole film. It really solidifies the monsters as characters in their own right; especially because Kong's character arc here is struggling with a deep loneliness only to uncover he is not the last of his kind. Unfortunately, Kong's people are ruled by a tyrant and if he wishes to free them then he must face one of the biggest challenges we've seen him tackle onscreen. I really liked the treatment of the monsters here, we finally see them as more than just visual effects or action pieces. Likewise Godzilla is building a nice sense of foreboding by constantly powering himself up all movie long for an undisclosed threat. The film isn't shy to showcase a wide variety of interesting looking kaiju too; there are monster fights and designs consistently placed throughtout the movie which left the worldbuilding coming across as pretty rich. The human storyline is about learning the threat directly related to the monster plot, with them venturing to Hollow Earth to aid Kong and Godzilla. This was a really smart way to utilise the human characters, by blending their narrative arcs with the focal point of the feature.

 

This movie is shot exceptionally well and is my personal favourite of Adam Wingard's features to date. The camerawork takes in these monolithic special effects shots and leaves you wowed, the action and visuals all very immersive in how they are captured and the way actors are shot blends them into these CGI vistas and creatures seamlessly. The special effects might just be the very part of Godzilla x Kong, there are so many detailed and well scaled kaiju in this that all look amazing. Pair these creatures with the way environments, laser blasts and flying vehicles are designed and this thing is a sleek looking blockbuster. The score here is a bit retro at times in a very fun way but it also comes at things with the much sought action fanfare. However, the soundtrack is one of my favourites in the Monsterverse series, the inclusion of Kiss' 'I Was Made For Lovin' You' and Golden Earring's 'Twilight Zone' blew me away. 

 

Dan Stevens, who played Trapper, is having a real blast here and it kind of shows; watching Steven bring to life what can only be described as the Steve Irwin of the Monsterverse was a lot of fun. Kaylee Hottle, who played Jia, gets to bring a bit of personal conflict to this with her role's feelings of isolation/not fitting in; I also adored her and Hall's work on creating a fantastic onscreen bond. Alex Ferns, who played Mikael, is such a fun minor role in this; Ferns as this pent up and rageful soldier type who gets wound up so easily just had my full attention when he was in a scene.

However, the best performance came from Rebecca Hall, who played Ilene Andrews. Hall really had me impressed in Godzilla vs. Kong but this performance really just builds on that. In this we see Ilene as this really resourceful and dynamic science team leader. She sweeps through MONARCH with authority but you feel she is well bonded to those around her. I loved how she presented a growing sense of urgency as the kaiju threat started ramping up, even really barrelling into the mystery at the heart of the narrative. Overall, what Hall has done best in these films is play a mother to her onscreen daughter, Hottle. It's a really unique dynamic being a mother to a deaf daughter who also has been displaced from her culture/home. The amount of love and work Hall puts in to frame this incredible bond between mother and daughter is one of the best human elements of this film. Ilene is without a doubt one of my favourite blockbuster roles from Rebecca Hall to date.

The Monsterverse is rarely perfect, and though this is one of my favourite features from the series to date, it is not without flaws. The film really doesn't have a great blend on humour to dramatic elements. There is this real push to have a couple of 'funny' characters front and centre for levity in typical Hollywood blockbuster format. But the truth is these gag characters do very little to help the film and often take the punch out of otherwise decent scenes. A constant problem the Monsterverse has always juggled is the human element, how to make the humans in the film link to the monsters and also be interesting in their own right. This film does it better than most but it does start stumbling in the back half of the film. Suddenly old flaws like exposition dumps, hail Mary secret projects and a hidden human society all start popping up and things get more convoluted than they really need to be. The Iwi tribe in Hollow Earth is a storyline that doesn't feel well explored and added too much lore dumping in the final stages of the feature. There's also a brief subplot around Ilene misunderstanding Jia and thinking she wants to stay with the Iwi, which felt like unnecessary heightened drama for the sake of it.

Brian Tyree Henry, who played Bernie Hayes, really does make an effort to tone it down for this film but he's still too over the top for this feature I found; this is a role that is only here to keep rattling off comedic dialogue at a frequent pace and it really intrudes on a lot of scenes. Fala Chen, who played the Iwi Queen, was a real nothing role; this character does a lot of empty staring but rarely actually gets to play a part in the story of the film. Rachel House, who played Hampton, is such a hard sell as a scientist type; watching House stumble through a chief scientist role was probably the biggest miscast in the feature.

I haven't always loved Legendary's Monsterverse, but this film is one of their very best in the series. I would give Godzilla x Kong: The New Empire a 7.5/10.

Ghostbusters: Frozen Empire

 

 

This review may contain spoilers!

 

Ghostbusters: Frozen Empire is a sequel to Ghostbusters: Afterlife (2021) in which we now join the Spengler family home in the classic Ghostbusters firehouse, careening about New York City and catching ghosts. Yet while the Spengler family faces the challenge of bureaucratic red tape a far more deadly threat is on the horizon: a being called Garraka that harnesses the chilling power of fear itself.

 

 The central storyline really builds itself up nicely, over the course of the movie you really feel the genuine threat of Garraka's impending release into the mortal world. The movie opens with an arresting moment of foreshadowing, a segment that spells doom as we are then hurtled into the sort of fun adventure that this more modern take on Ghostbusters is doing so well. Our family team of Spenglers careens through the streets of New York pursuing a ghostly dragon and causing mayhem, what more could you ask for? The way this film threads Garraka's prison and impending release through the story by letting it trade hands through the classic Ghostbusters cast, the new cast and into a new location is really a nice method of linking. All the while Garraka is steadily unveiled and the scale of what he will bring down upon New York is really well depicted, the tension in the lead up to his physical reveal to Phoebe is spectacular. While there were some issues with this subplot I really liked the nature of a ghost like Melody becoming a main character and befriending a Ghostbustser like Phoebe; it was a nice creative step the franchise needed to make.

The movie has a neat style, the camera work often feels very bold and makes use of the iconic locations or New York cityscape. I also felt this film could jump between a flourishing visual effects shot and a more cleverly placed 'scare shot' to up the tension. The visual effects looked really impressive, with a decent amount of variety between all of the ghosts and the ultimate design of Garraka being quite sinister. The score for the feature is the perfect blend of family friendly goof and charm alongside a more gripping sense of foreboding.

 

Paul Rudd, who played Gary Grooberson, was a pretty solid lead once again; Rudd has a very easy-going charm that makes most roles he plays quite charismatic. Mckenna Grace, who played Phoebe Spengler, is one of those character performances that has really defined the new Ghostbusters; the more down and out quality of this role in the sequel Grace tackled candidly while still maintaining a strong connection to what made her role so beloved in Afterlife. Kumail Nanjiani, who played Nadeem Razmaadi, is quite the random comedic role but he works surprisingly well; the real deadbeat loser turned hero trajectory is something Nanjiani has a lot of fun with here. Patton Oswalt, who played Dr. Hubert Wartzki, is only a small role but he leaves a good impression; Oswalt is really good at spinning long exposition and leaving it feeling fun. James Acaster, who played Lars Pinfield, is a whole lot of fun as the new uppity scientist on the Ghostbusters payroll; Acaster really falls into the severity of the role which draws out some great comedy from how he inhabits a scene. Bill Murray, who played Peter Venkman, is so quick with hilarious dialogue delivery that it feels like he never left Ghostbusters; Murry and Nanjiani's scene together is one of the very best in the film given how they play off one another. Dan Aykroyd, who played Ray Stantz, is one of my very favourite performances in this; Aykroyd feels like the heart of the movie and you can see how much he still believes in the magic of Ghostbusters. William Atherton, who played Mayor Walter Peck, is a nice returning minor antagonist; the way he takes to triumphing over the Ghostbusters makes you love to hate him.

However, the best performance came from Emily Alyn Lind, who played Melody. This is a role who wasn't exactly the most front and centre performance but who was a unique concept that really left a strong impression. Lind is really good at starting out quite witty with an edge of mystique to her. She really plays the friendly persona well, her and Grace have some excellent onscreen chemistry with one another. Yet there is this unsettling quality to her, something that makes you know beyond a shadow of a doubt that she is a dangerous person too. I loved her portrayal of grief at not being able to reconnect with her family; this tragic feeling of loneliness she fed into her portrayal. Lind also really presents the conflict between betraying her friend or serving her interests really well. This was such a fresh role for the Ghostbusters universe and it couldn't have been done much better than Lind.

Ghostbusters: Frozen Empire is the sort of story that holds a lot of promise but the content within really just doesn't work all that often. The second act was a very tough one to watch because the whole thing is filled with character after character explaining how all the technology worked, the history of Garraka or any other ghost that wandered into frame and even long winded explanations of new characters like the Fire Starter. The whole thing really slowed down because the movie felt like it had to take the time to explain itself in every second scene. For a franchise built on humour I was really surprised by how infrequent and poor the jokes were. This was an objectively funny cast but the dialogue rarely brought a laugh and there were scenes oddly scattered that felt more like skits than the natural flow of scenes. The family dramas of the Spenglers just weren't as interesting this time around; things like the mayor rallying against the Ghostbustsers are played out, causing Phoebe to feel angst because she was benched was over the top, they didn't know what to do with Trevor and Gary trying to find his place in the Spengler family was such a dull storyline. As a whole this is a film with a very exciting true north but it is riddled with some really lousy plot inbetween the 'big moments'.

Carrie Coon, who played Callie Spengler, is a character that really hasn't worked in these modern sequels; Coon plays a very stereotypical mother figure and she isn't great at the more comedic elements of Ghostbusters. Finn Wolfhard, who played Trevor Spengler, just feels like he's poorly placed in this film; watching Wolfhard complain about being taken seriously as an adult while fighting Slimer all film was such a poor use of this performer. Celeste O'Connor, who played Lucky, is inserted back into this film and doesn't really earn her sequel return; O'Connor just plays Lucky in quite a scattershot manner without ever making her feel like she belongs to the story. Logan Kim, who played Podcast, was fun in Afterlife but quite annoying now; Kim's same rapidfire dialogue delivery and in your face screen presence really have lost their charm. Ernie Hudson, who played Winston Zeddemore; delivers so much of his exposition like he's trying to sell me a used car; Hudson's Ghostbuster was always the more boring and this still holds true. Annie Potts, who played Janine Melnitz, never really justifies being back in this sequel; it's quite unclear what role Potts is actually serving and why she's here for any reason beyond nostalgia.

A decent special effects action blockbuster that really struggles to tell a story without cramming exposition down your throat or smashing storylines together like a toddler playing with blocks. I would give Ghostbusters: Frozen Empire a 6/10.

The Convert

 

 

This review may contain spoilers!

 

The Convert is a historical drama set during the times of colonial Aotearoa and follows a lay preacher who is troubled by the injustices faced by the warring Māori iwi and turns to championing their cause. The first act of this feature is something truly magnificant to behold. We get to see this righteous figure of Thomas Munro enter Aotearoa after a difficult overseas journey. He enters this land with a curious mind and a great deal of compassion for others; leading to his saving Rangimai from Akatarewa's raiding party. The establishment of this father/daughter like relationship, an almost guardian status is a soft and gentle thing at first that is often faced with turmoil from the town Munro preaches for. The Convert really highlights the way English colonies preyed on that which is other; this can be seen in the murder of Pahirua, the framing and murder of the Roman Catholic grocer, the 'exile' of Charlotte and Kedgley's dealings with the iwi in the area. I also liked the time spent learning of the Māori people in this historical context, in which they held their own way of life but had also adopted changes due to the pervasive nature of English colonialism.

This is one of Lee Tamahori's most beautifully shot features yet, the way the landscape of Aotearoa is captured speaks to something truly ancient and beloved about this place. Aotearoa feels vast and beautiful, it's wildlife so fascinating and even the move to visceral action, though shocking, will have your gaze arrested to the screen. The musical score by Matteo Zingales is enitrely melancholic, filled with long moments of sorrow and mourning woven into song. I was also really impressed by the very appropriate use of Māori waiata, which often lended this sense of gravity to a scene.

 

Guy Pearce, who played Thomas Munro, is an absolutely fantastic protagonist performance in this; there's a scene of great hardship in this where Pearce recounts an attack against a school his character made in the past in what I can only describe as the best monologue from The Convert. Tioreore Ngatai-Melbourne, who played Rangimai, is such a powerful young performer; the scene in which she demands someone seek revenge on her behalf was such a moving moment. Antonio Te Maioha, who played Maianui, is a very stern chieftain figure; Te Maioha is a steady presence who leads with great strength and really stands tall in his scenes. Jacqueline McKenzie, who played Charlotte, really did so impressively with her dedication to portraying a woman who could really fluently speak both English and te reo Māori; the pain McKenzie displays at recounting how Charlotte feels losing her family is another impactful moment of the feature. Lawrence Makoare, who played Akatarewa, is a truly excellent antagonist; Makoare presents a man entirely motivated by violent war and conquest.

However, the best performance came from Dean O'Gorman, who played Kedgley. In the context of the whole film, Kedgley was really just a character role that didn't have as much screen time but I found the role to be something incredibly genuine from O'Gorman. This mercantile ship captain has an air of indifference to him when first we meet him; he struggles to give a dedicated eulogy to one of his own crew and fobs the job off to the protagonist. O'Gorman as Kedgley feels very charismatic, he speaks well to those he meets and is passionate about his trade in Aotearoa, particularly with the Māori iwi. Yet the more we see how Kedgley peddles and swindles, the more the charisma falls away to reveal a more wily and cunning figure. The scene in which he desperately negotiates for Munro's life by equating him to a slave shows his true colours. But later yet, we come to see the greedy and arrogant trader Kedgley is; and his own hubris in holding superiority over the Māori people.

I was really hooked in by this film, knowing it was made by a legend of Kiwi cinema and just watching how entirely gorgeous it was had me very excited. But there was something else nagging away at me quite severely. Early in the film we get to see 'man of God' Thomas munro land upon Aotearoa by aiding his white horse to shore and then riding out of the surf along the shoreline. It was a very messianic moment and it made me think of a classic Hollywood criticism around the 'white saviour' figure. As a whole the film has a very Pākehā driven narrative, surprising considering how many Māori creators were behind the development of The Convert. Yet the film itself follows Munro as he saves Rangimai and nurses her back to health, then delivering the body of Pahirua back to Maianui. From here he teaches this iwi how to fight better with muskets, attempts to 'expose' the reasoning and practice to the Māori people, offers to singlehandedly negotiate and save Maianui's people and then turns to violence to fight for Maianui's people when Akaterewa attacks. There is also a side character who is partnered with Munro as one of the three central protagonists; a Pākehā woman who once married into Maianui's iwi. By the end of the feature Munro speaks on behalf of the Māori iwi to the English Crown colonial representatives, all while sporting a mataora. There is a lot of this that makes me wonder how much Munro and Charlotte deserved or even should have been the centre of this story, when figures like Rangimai were so better represented and meant a great deal more to the story. I understand wanting to make a film that resonated strongly with white audiences but I'm not convinced this was the happy medium it wanted to be.

The editing felt very inconsistent with some jarring cuts and fade to black transitions that looked horrendous. The uninspired approach to editing let down the stunning visuals of the feature in a few places and also dragged the pacing out a bit more than was really necessary.

Duane Evans Jr., who played Pahirua, feels a little too comfortable giving nothing at all to his role; this is a character that drops into the background very easily. Madeleine McCarthy, who played Bethany, doesn't really have much chemistry with Evans Jr.; the romantic entanglement between these two feels like the script pushes them together more than anything else. Ariki Salvation-Turner, who played Uenuku, has what can be described as some of the worst line delivery in the film; Salvation-Turner feels like he is regurgitating the script but hasn't found much of his character at all.

A truly majestic Aotearoa film visually, but the plot left me feeling a bit complicated when the credits started rolling. I would give The Convert a 6/10.

Damsel

Damsel thrusts viewers into the world of Princess Elodie, betrothed to Prince Henry of the Aurea kingdom, only to uncover the dark secrets surrounding her new royal family and their sinister relationship with a formidable dragon.

What sets Damsel apart is its adept manipulation of genre expectations. While initially poised as a fantasy survival narrative with a lone protagonist, the film masterfully weaves a pervasive sense of horror throughout. From subtle visual cues to the haunting score by David Fleming, every element contributes to an atmosphere thick with foreboding. The revelation of the dragon's ability to communicate further amplifies the impending danger, setting the stage for a gripping tale of survival.

Millie Bobby Brown's portrayal of Elodie is commendable, capturing her transformation from a dutiful princess to a determined warrior. Additionally, Shohreh Aghdashloo's portrayal of the Dragon adds a chilling depth to the antagonist, enhancing every scene with a palpable sense of menace. However, it is Robin Wright's portrayal of Queen Isabelle that truly shines as the standout performance of the film. Wright's regal authority and calculated malevolence elevate the character from a mere antagonist to a formidable force to be reckoned with.

Despite its strengths, Damsel falls short in its predictability. The narrative arc follows a familiar trajectory, with few surprises along the way. Elodie's sudden prowess in combat feels inadequately explained, detracting from the film's credibility. Additionally, the lackluster world-building leaves much to be desired, with both royal families and their respective kingdoms feeling underdeveloped.

Visually, Damsel struggles to immerse viewers in its world, with CGI effects failing to impress. The reveal of the dragon is particularly disappointing, lacking the realism needed to suspend disbelief. The poorly rendered CGI creates a jarring contrast with the live-action elements, detracting from the overall viewing experience. To add insult to injury, the film's choice to close with a lackluster rendition of "Ring of Fire" feels like a missed opportunity for a memorable ending.

Ray Winstone's subdued performance as Lord Bayford further dampens the film's impact, while Angela Bassett's exaggerated portrayal as Lady Bayford feels out of place.

In conclusion, Damsel is a film with untapped potential. Despite its atmospheric tension and standout performances, it ultimately fails to deliver a truly captivating narrative or immersive visual experience. While it may satisfy fans of the genre, its shortcomings prevent it from reaching its full potential.

I would give Damsel a 4.5/10.

Spaceman

Spaceman, a thought-provoking science-fiction drama, delves into the depths of human loneliness and the quest for connection in the vast expanse of space. The film follows Jakub, a solitary astronaut embarking on a solo mission beyond Jupiter, while back on Earth, his wife Lenka contemplates leaving him due to the emotional void their relationship has become over the years. However, the narrative takes a surprising turn when an extraterrestrial spider, Hanus, enters Jakub's spacecraft with the intent to alleviate his profound loneliness.

Contrary to the expectations often associated with Adam Sandler's films, Spaceman ventures into experimental territory, pushing the boundaries of storytelling and character exploration. The film's strength lies in its unconventional approach to depicting Jakub's journey of self-reflection and growth amidst the isolation of space. The juxtaposition of Jakub's struggles in space with Lenka's emotional turmoil on Earth adds layers of complexity to the narrative, keeping the audience engaged throughout.

One of the film's most compelling aspects is the unlikely bond formed between Jakub and Hanus. Despite the initial unease surrounding the extraterrestrial creature, Hanus emerges as a symbol of healing and companionship, guiding Jakub towards emotional maturity and reconciliation with Lenka. The dynamic between Jakub and Hanus, though initially jarring, evolves into a poignant reflection of human connection transcending cosmic boundaries.

Visually stunning, Spaceman captivates with its mesmerizing CGI effects, particularly in rendering the otherworldly presence of Hanus and the majestic vistas of space. Max Richter's haunting score enhances the film's atmospheric depth, accentuating moments of both beauty and melancholy.

Adam Sandler delivers a transformative performance as Jakub, portraying a man on the brink of emotional collapse with raw intensity and vulnerability. Carey Mulligan shines as Lenka, capturing the complexities of love, loss, and resilience amidst heartbreak. However, it is Paul Dano's voice work as Hanus that steals the show, imbuing the character with wisdom and empathy that resonate deeply with the audience.

While Spaceman's narrative occasionally falters in its pacing and focus, particularly in the first half, the core emotional arc remains compelling and resonant. The film's exploration of themes such as corporate greed and the fragility of human relationships adds depth to the story, even if some plot elements feel underdeveloped.

In conclusion, Spaceman is a transcendent sci-fi drama that delves into the existential depths of human existence, weaving a tale of loneliness, connection, and authentic love across the cosmic canvas. Despite its occasional flaws, the film's poignant message and stellar performances make it a captivating cinematic experience. 

I would rate Spaceman a solid 7.5/10.

Dune: Part Two

 This review may contain spoilers!

 

Dune: Part Two is the sequel to Dune (2021) and continues with the story of how Paul Atreides survives the decimation of his House and leads an army of Fremen against the Harkonnen forces. 

 

One of my main criticisms of the first film was answered almost immediately in the first act this time around. I found there was a lot of exposition and we were fed worldbuilding; but in this act the film finally takes a punt at letting the audience experience the world of Arrakis. When Paul Atreides seeks to reject his 'Chosen One' destiny and instead wishes to learn the Fremen culture and become immersed in it we get a really intimate examination of the lifestyle of this planet. Paul becomes more resolute in the trials he seeks out and forms interesting character bonds as a part of his journey, it's a neatly packaged journey in which we the audience come to understand the Fremen culture and the world of Arrakis better through Paul's own developing worldview. I also really liked how this form of storytelling fostered a believable resistance story of native people standing strong against a foreign occupier. It also kindled a great romantic subplot between Paul and Chani that added a lot of meat to the later conflicts.

 

The visuals Denis Villeneuve has brought to the world of Dune are what makes this trip worth the price of admission. The story I can take or leave but there are whole sequences of shots, down to singular frames that are the epitome of cinematic artwork. The setting could feel so barren but instead it feels expansive, beautiful and extraterrestrial. These movies transport you entirely and they are designed perfectly to do so through their look alone. The special effects are very impressive, the ships and vehicles scattered throughout right down to the sandworms or the Harkonnen troopers gliding through the air looks entirely realistic. Though I feel like his best themes really appeared in the first Dune I was suitable impressed by Zimmer's score for this one; it continues that trend of unnatural sounding music that aims to transport you there and also emphasise scenes where the action rushes forwards.

 

Javier Bardem, who played Stilgar, is quite a boisterous and proud leading figure of the religious Fremen; Bardem's exuberance and devotion really marks him as one of the true leading performers in this ensemble. Charlotte Rampling, who played Reverend Mother Mohiam, is a rather sinister figure who puppeteers the great Houses with a sharp wit; Rampling feels like a dark mystical force with a network cast wide over the galaxy.

 

However, the best performance came from Zendaya, who played Chani. This is a role that probably has the best arc over this epic cinematic feature. Chani is sympathetic to the outsiders her people have taken in at first, acting as a translator for Paul and humouring his constant questioning. But she stands mildly entertained by the outsiders and guarded against them too; she doesn't trust easily at all. As the film progresses we see that great work Zendaya does in portraying her character slowly coming to like, trust and then fall for Paul without ever really shredding that hard exterior of a warrior Fremen. There is a conflict on display here as the Fremen turn to religious zealotry around her, Chani cannot buy into what her people believe but she still deeply cares for Paul. Watching her strong feelings of love turn bitter and become resentment and ager speak strongly to Zendaya's ability to craft a complex character. That final scene in which she sees how much Paul was willing to fight for her while also choosing to throw her to the side like something disposable is heartbreaking because of Zendaya's acting talent. She gets that final shot this time around and damn does she deserve it.

 

There were entire moments of this film where I really felt like they improved upon the first Dune, and there were times where what had once worked was beginning to wear thin. Ultimately, when I left the movie theatre I felt I had watched something interesting but nothing truly fresh nor gripping when it came to the narrative. The wider sense of world building with the Emperor, the Harkonnens and the Bene Gesseritt all come across as superfluous this time around. There's a lot of interrupting the plot as the story wears on to focus on new characters who provide very little or to iterate vast swathes of exposition that don't always feel very purposeful in their intent. The entire storyline around religious fanaticism is interesting but it all happens very quickly and is difficult to suspend disbelief on. The Fremen are initially quite the interesting culture but the subversion of their identity takes place in a handful of scenes and left me wishing it had been thought on a little more. I'm still extremely tired of the Chosen One narrative, it feels like such an outdated brand of storytelling that you have to be inventive with these days. But this film fails to be inventive on this plot point and holds to the tired trope like it's the most fascinating direction we could've gone. A lot of the actual visual conflict was quite rushed and fight choreography in a number of scenes looked awful, with the final battle between Paul and Feyd-Rautha ending in a bit of an anti-climax. It was disappointing to see conflict rushed through while exposition and branching subplots really bogging down the pace. Also the whole thing with Lady Jessica becoming the head of a religion and talking telepathically to her unborn child within her own womb was maybe something that feels like an outdated storyline. Including that strange pregnancy arc was unnerving and took me entirely out of the film throughout.

 

Timothée Chalamet, who played Paul Atreides, lacks the presence to really make his mark this time around; I just don't believe Paul's journey to becoming this great leader when he's this reedy little figure who delicately whispers out his dialogue. Rebecca Ferguson, who played Jessica, is perhaps one of the most oddball performances in the cast; the moment Ferguson has to start acting out fake conversations with her fake pregnant belly the character became a bit of a joke. Josh Brolin, who played Gurney Halleck, is just way too laidback this time around; Brolin almost feels misplaced as a more comedic relief type role at times. Austin Butler, who played Feyd-Rautha, needs to seriously fire or get a new voice coach; the fact I heard an American accent right through to an awful Stellan Skarsgård impersonation made this antagonist a bit of a parody of himself. Florence Pugh, who played Princess Irulan, is a very talented performer but feels quite bland in this; Pugh is given barely anything to do and is the backdrop of one of the least entertaining subplots. Dave Bautista, who played Beast Rabban, has reverted right back to that wrestler level of acting this time around; watching Bautista shout every single line or bumble through uninspired fight choreography was painful. Christopher Walken, who played the Emperor, was hilarious as far as casting goes; you couldn't have anyone less suited to this character and the line delivery was everything you'd expect. Léa Seydoux, who played Lady Margot Fenring, is really just in this film to play an object of sexual desire for Feyd-Rautha (Butler); Seydoux has a lot of potential but she is really just placed here for one major seduction scene. Stellan Skarsgård, who played Baron Harkonnen, is really underutilised this time around; I just didn't feel the gravity of the Harkonnen's in this sequel. Souheila Yacoub, who played Shishakli, is a friend figure to Zendaya's Chani but the pair's friendship never feels too significant; Yacoub is one of the Fremen performances that falls more into the background and bears little weight. Anya Taylor-Joy, who played Alia Atreides, is the physical embodiment of one of the worst subplots in the film; it was a bit of a waste placing Taylor-Joy with such a strange piece of writing.

Much like the first part, this iteration of Dune is one of the most visually impressive films of 2024 but it is impeded by a narrative that feels overstuffed and out of date. I would give Dune: Part Two a 6.5/10.