Dune (2021): Action/Adventure/Drama

The House of Atreides moves to planet Arrakis to protect the most precious resource of existence, but yet another interstellar feud amongst the Houses is just about to begin.

Yet another feud, yet another cinematic achievement from Denis Villeneuve! A phantasmagorical Part 1 that will impress even the hardest ones to please! Dune has it all; the solid script and acting, the state-of-the-art visuals and sounds, Hans Zimmer’s epic soundtrack, the extraordinary photography, the controlled pace and rhythm… everything!

Villeneuve did not become slave to the original source – Frank Herbert’s already amazing novel – but respected it, visualised it in a way no one has done before, and materialised it like no one has done before. While watching it, I couldn’t help but wonder: did I ever imagine in the early 90s, while playing the game, that I will watch Dune, a film of that magnitude, on the big screen? Yet, here I am having watched it… ready already for Part Two.

One may notice the numerous liberties taken adapting the film, but we need to remember that film is a visual medium and that an adaptation is a product of its era (think from societal needs and restrictions to VFX). And Villeneuve’s liberties work like a Swiss watch. See for example the fighting styles: As per IMDb, Fight Coordinator Roger Yuan gave the House of Harkonnen ancient Mongolian fighting skills and the House of Atreides Filipino fighting skills, a visual result that matches the nature of the two Houses. The same applies for the costume design that doesn’t resemble the book’s descriptions, and yet every costume encapsulates the status of each House.

The all-star cast comprises of: Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Jason Momoa, Josh Brolin, Javier Bardem, Sharon Duncan-Brewster, Zendaya, Stellan Skarsgård, Chang Chen, Dave Bautista, Charlotte Rampling, and more. An excellent cast that shines in front of the camera. My only issue with Hollywood, and not the film in particular, is that everyone has to be attractive. Everyone could as well be a model on an underwear or a fragrance poster. But whatever… I’ve lost count of how many times I’ve brought that one up.

Every department, every cinematic technique applied, everything you see and hear… can be thoroughly analysed individually, but also collectively. And either for research or purely informative purposes, researchers and columnists, respectively, will write extensively about Dune. For now, what you need to do, is turn off the lights, turn down your phones, turn up your sound system, and enjoy a unique cinematic experience.

Stay safe!

Reminiscence (2021): Mystery/Romance/Sci-fi

A private investigator with access to people’s memories unfolds a conspiracy that also involves the disappearance of his beloved woman.

Interesting yet intricate plot that tells more than it shows. What has happened, but not to the full extent, becomes pretty straightforward from the very beginning. Until the inciting incident, a sci-fi, neo-noir unfolds that emphasises on nostalgia. Once it becomes clear what the story is about, the plot and the subplot become respectively unclear. I struggled to figure out which is which. One is a decent love story and the other is a decent crime one. But which one is the plot? And what are they together if both of them are the plot? Or the subplot? See the confusion?

There is a jigsaw waiting to be put in order and Hugh Jackman, Thandiwe Newton, Rebecca Ferguson and (the massively underrated) Cliff Curtis do a great job putting it together, but the film’s imbalance, and the editing’s rhythm and pace do not help. Director Lisa Joy, the woman behind Westworld (2016-2022) gets Newton and Angela Sarafyan on board and even though she did a very decent job putting it together the result was not probably exactly what she hoped for. That said, the extremely poor box office does not reflect on that result – Budget: $54,000,000 (estimated) / International Box Office: $11,900,000. You will not regret watching it so go for it.

Here’s another one for you. At times, it felt like this was a film about Hugh Jackman, who, in his fifties, he still looks the same awesome, well-trained, good-looking man he was ten and twenty years ago. Not saying this is positive or negative but it becomes yet another factor that takes the focus away from the story and, consequently, distracts. Again, I hope you forget your problems for about two hours and enjoy it.

Stay safe!

P.S. Fun fact: Lisa Joy is the wife of Jonathan Nolan, brother of Christopher Nolan who has directed Hugh Jackman in Prestige (2006)

P.P.S. Fun fact 2: Hugh Jackman and Rebecca Ferguson worked together before in The Greatest Showman (2017)

Doctor Sleep (2019): Drama / Fantasy / Horror

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Dan Torrance, years after the horrific events of The Shining, a disheveled adult now, must overcome his fears and protect a young girl with a similar ‘shine’ from a cult that feeds on gifted children.

Imagine you are a young and successful director granted permission to write and direct the sequel to a film adaptation famously hated by the author of the book on which it was based, and that that same author will be your producer. Let’s make it more intricate by saying that the previously adapted film became a horror landmark, but the author – who hated it – made his own mini-series version that was… unremarkable. More interestingly, both the author and the director were Grandmasters in their departments respectively; the author is called Stephen King and the director Stanley Kubrick. Which adaptation is your sequel based on?

As a lifetime fan of both Kubrick and King, and a recent fan of the young and successful writer/director Mike Flanagan, this review hurts more than anything I have typed so far. Flanagan did a lot of things right: He recreated the sets of the Overlook hotel with surgical precision, the ’80s characters as he supposed to, cast the right actors for the right roles, and a sequence that truly pays homage to The Shining (1980): The moment between Danny entering the Overlook Hotel and Rose arriving.

Unfortunately, these positive aspects are overshadowed by the script. A script that was written in such a way as to satisfy both King and the true Shining fans. A recipe for failure. The risks start accumulating automatically the moment you decide to pick up from where Kubrick left off. Steven Spielberg, one of the best directors of our time, sat at the director’s seat and finished off A.I. Artificial Intelligence (2001) after Kubrick sadly passed, and even he faced backlash for doing so. The script here faces a lot of issues in terms of both character and story development. Indicatively (no spoilers), just to get an idea, the characters have an undetermined level of shines both in terms of quantity and quality. Incidentally, that causes serious issues with the strategies followed by both heroes and villains before, during, and after the standoff.

The Shining is a psychological horror that turns into a paranormal horror in an invisible and inexplicable to the viewer way. Stanley Kubrick directed it with mastery, Jack Nicholson delivered a breathtaking performance (Shelley Duvall paid a heavy price), and we, the audience, jumped from one kind of horror to the other with our jaws on the floor. Doctor Sleep is an amalgamation sequel of two incompatible versions that are heavily undecided as to whether to be psychological or paranormal, ending up being neither.

Despite the tempting references to other King films as well, I would suggest that you didn’t consider it a direct sequel. Instead, you should watch the series Castle Rock (2018 – Present) which has finally managed to do what other productions have failed to do in the past (no spoilers) and does so with great success.

Men in Black International (2019): Action / Adventure / Comedy

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Men in Black, the secret government organisation with the cream of the crop agents and the advanced technology from all over the known Universe is now having a mole who threatens to destroy the Earth.

The reasons are obvious as to why it didn’t perform well. Barry Sonnenfeld, director of Men in Black I (1997), Men in Black II (2002), and Men in Black III (2012) gave MIB an appealing character to men, women, and children of all ages. F. Gary Gray and the studios decided it’s a wise choice to ‘devote’ Men in Black: International to millennials and, as a result, it was turned into something unfulfilling for everyone else – even them evidently. To be more specific:

  • Online childish slang (?) such as ‘you had one job’ and ‘that happened…’ were only put there just to have these lines heard by their favourite actors/actresses.
  • Both men and women, we acknowledge that Chris Hemsworth is attractive. Fair enough, but to make him look like he just finished a fragrance photoshoot or an underwear ad throughout the whole film kills the vibe, throws the fans of MIB off, and ultimately depreciates the franchise’s value.
  • I know it’s an action/comedy/adventure but the main hero comes to realise something he never expected about himself (no spoilers). Do we feel like he is really affected by it? No. That kills the drama. And as a whole, I didn’t really feel anything about anyone as it was all…
  • Fun! Comedy works in mysterious ways and what makes people tick varies. BUT… having a punchline for everything that happens for almost two hours creates one emotion for every situation.

Men in Black: International became a lose-lose situation for studios and audiences alike. Will Smith and Tommy Lee Jones (even Josh Brolin) became MIB by earning their stripes. F. Gary Gray is an amazing director. Friday (1995) and Straight Outta Compton (2015) are brilliant examples of his work but Matt Holloway’s and Art Marcum’s script didn’t do any favours to anyone. If you also want to admire Chris Hemsworth as a presence but also a thespian, watch Rush (2013), In the Heart of Sea (2015), Bad Time at the El Royale (2018), and of course, the Thor/Avengers franchise.

I’m not even gonna go into production details and I feel sorry for not having something good to say (except that Tessa Thompson is always mesmerising).

Mission: Impossible – Fallout (2018): Action / Adventure / Thriller

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There are priceless moments in one’s life where a plate of ravioli, a glass of Sangiovese, and neorealist cinematic masterpieces by Vittorio De Sica and Luchino Visconti mean the world.

This isn’t one of them moments. After watching “Mission: Impossible – Fallout”, I read some mixed reviews which got me thinking… What the actual f@!# is wrong with some people?! Well, it’s a long list and it’s beside the point. Is it a classic film? No. Will one encounter Shakespearean acting? Nope. In a production wrapped in 161 shooting days, let me shed some light on what you’ll encounter:

  • Phenomenal action by water, land, and air with every possible vehicle available.
  • Dynamic hand-to-hand combats.
  • Tom Cruise doing all of his stunts himself and all actors delivering stupendous performances.
  • Rebecca Ferguson being as jaw-dropping as always.
  • Twists and turns with everyone switching sides.
  • Amazingly unnoticeable VFX.

Trust that writer/director Christopher McQuarrie and Tom Cruise have collaborated on 9 films together. It is a duo that works and gets results. Tom Cruise characterized it as an epic personal tale with enormous emotional stakes for the characters.

So, it’s one of them moments…

You can find it here: https://amzn.to/37dgtbi