I don’t like sand. It’s all coarse and rough and irritating. And it gets everywhere.
We have yet to see anyone get a live-action Dune to be exciting yet, and a new San Diego Comic-Con 2021 trailer for the new Denis Villeneuve movie doesn’t give us much hope it will happen anytime soon. One of the reasons Star Wars was so successful was that George Lucas cast relative unknowns in his leading roles, and the new trailer for Dune reveals why that was a good thing. It’s not Frank Herbert’s characters jumping off the screen but familiar faces that stand out, like Aquaman Jason Momoa and his trademark comedy one-liners, Galaxy Guardian Dave Bautista, Star Warrior Apocalyptic Oscar Isaac, Spider-friend Zendaya, and Thanos himself Josh Brolin. (Were there only superhero movies to cast from?) The images in this week’s trailer for Dune, the latest adaptation of Frank Herbert’s sand… er… spice planet world, could easily be spliced from the wide-angle, sparse landscapes of Villeneuve’s recent Blade Runner 2049. He also is conjuring bits of cinema’s sandy sci-fi heritage, like George Miller’s Mad Max: Fury Road, and you may even recognize shots straight out of the Star Wars J.J. Abrams movies (and the prequels), Star Trek V: The Final Frontier, Valerian and the City of a Thousand Planets, The Chronicles of Riddick, and John Carter of Mars. You’ll see a lot going on in this trailer, which inexplicably adapts only the first part of Herbert’s novel. But is there anything new to get audiences back in the theater?
In advance of a two-part set of movies starring Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Dave Bautista, Zendaya, Jason Momoa, and Javier Bardem targeted to come to theaters in 2021 from director Denis Villeneuve, a new three-book graphic novel series is heading your way next month from Abrams Books. The first part, Frank Herbert’s Dune: The Graphic Novel, Book One is available for pre-order here at Amazon.
So how faithful is the graphic novel to Herbert’s original novel?
Once you’ve seen a film by Denis Villeneuve, you can spot his work instantly. The images in this week’s trailer for Dune, the latest adaptation of Frank Herbert’s sand planet world of characters could easily be spliced from the wide-angle, sparse landscapes of Villeneuve’s recent Blade Runner 2049. He also is conjuring bits of other directors’ sci-fi works, like from the last successful sandscape flick, George Miller’s Mad Max: Fury Road, and you may even spot shots straight out of Ridley Scott’s Prometheus. You’ll see a lot going on in this trailer, but is there anything new?
In advance of a two-part set of movies starring Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgård, Dave Bautista, Zendaya, David Dastmalchian, Charlotte Rampling, Jason Momoa, and Javier Bardem targeted to come to theaters beginning this December from director Denis Villeneuve, a new three-book graphic novel series is heading your way this Fall from Abrams Books. Frank Herbert’s Dune: The Graphic Novel, Book One is now available for pre-order here at Amazon.
Iron Man, Spider-Man, and the Hulk haven’t done it. Along with Captain America and Thor, now Ant-Man adds another Marvel Cinematic universe film that matches the spirit of its first solo film. That’s Ant-Man and the Wasp, premiering this weekend in theaters across the U.S. If you count Ant-Man as one of your favorite films of the MCU, you won’t be disappointed in the sequel. As with the original, Ant-Man and the Wasp is the rare superhero movie that will appeal to all ages of moviegoers–not a single scene will pollute the minds of the littlest kid, and for the older generation that loved that classic sci-fi trope from The Incredible Shrinking Man, moviegoers don’t need to follow the MCU to jump right into this film. Better yet, Ant-Man and the Wasp has heart like nothing else on the big screen from Marvel, except for Paul Rudd’s first adventure as Ant-Man only three years ago.
For those not paying close attention, this film takes place before the events of Avengers: Infinity War, and two years following the events of Captain America: Civil War. Each of the character-led superhero films have those elements special to that character. The trademarks of Ant-Man return for this sequel: a slightly daft and bumbling hero (played by Rudd) enjoying his superpowers, a friend whose rapid-fire banter steals every scene (played by Michael Peña), a romantic co-lead ready to bust out and make her own name (played by Evangeline Lilly), even more cutting edge special effects that show today’s actors playing scenes looking just as they did 20 years ago, and the return of the great Michael Douglas with every bit the acting chops he had back in his The China Syndrome, Coma, and Romancing the Stone days as the incomparable Dr. Hank Pym, the original Ant-Man. Rudd’s Scott Lang has only three days left under house arrest before regaining his freedom, as Dr. Pym and daughter Hope (Lilly) attempt to secure the last piece of technology required to try to reach Pym’s wife, long ago left in the quantum realm. But they aren’t the only ones after this new technology.
The film doesn’t stop at mere fan service, bringing in three new characters that take the quantum universe story arc from the first film into new territory. That’s Michelle Pfeiffer as Dr. Janet Van Dyne–the original Wasp, Laurence Fishburne as former Pym colleague Dr. Bill Foster, and a stunningly good MCU debut by Hannah John-Kamen–at last in a major big screen role after playing supporting characters this year in Tomb Raider and Ready Player One. John-Kamen’s character has the same fierce grit and badass determination as Tessa Thompson’s Valkyrie in Thor: Ragnarok, and like Valkyrie, we hope she’s back in the sequel to Avengers: Infinity War next year. As with Thor: Ragnarok, Ant-Man and the Wasp brings the comic book page to life, and like Black Panther, the film has an antagonist you may find yourself rooting for. And make no mistake, Lilly’s Wasp could take over the reins from Black Widow as Marvel’s lead superheroine.
Credit for the success of Blade Runner 2049 as a worthy sequel to 1982’s Blade Runner is a shared prize for director Denis Villeneuve (Arrival, Sicario), the writers, including screenwriter Michael Green (Logan, Alien: Covenant), source material creator Philip K. Dick, and original Blade Runner screenwriter Hampton Fancher (The Mighty Quinn), plus at least two dozen other unnamed creators whose early science fiction works were mined for the story. Predictable, derivative, slow-paced, and overly long, Blade Runner 2049 still lands as a solid sequel and will no doubt please fans loyal to the 1982 film. The beauty of the sequel is the earnest, ambitious effort of Villeneuve under the eye of executive producer and original Blade Runner director Ridley Scott to give the story a reserved touch. The sequel has the now classic dystopian look of the Mad Max or Terminator: Salvation variety, stretching the original Syd Mead futurism and punk noir vibe into a different but logical new direction–think Blade Runner with the lights turned on.
From the first scene Villeneuve & Co. dig in to not just sci-fi tropes but cyborg heavy themes that sci-fi fans know very well from similar explorations in countless books, television series, and films since the early 1980s, when the idea of adapting something like Dick’s novel Do Androids Dream of Electric Sheep? into a big budget film was something less familiar to film audiences. The filmmakers touch on many classics–Frankenstein, Bride of Frankenstein, Pinocchio, Shakespearean tragedy–to countless episodes of the Star Trek franchise (lead character and Replicant K/Joe played by Ryan Gosling revisits several direct themes the android Data explored in Star Trek: The Next Generation). More than ten minutes is spent revisiting the latest technology called an “emanator” that Star Trek Voyager fans will be familiar with as the Emergency Medical Hologram’s “holo-emitter,” a device allowing holograms to move around the world. What in the early 1980s may have wowed audiences is here not so eye-popping because of the legacy Trek tech called the holodeck. But none of these flashbacks to sci-fi’s past really takes anything away from the elements re-used in Blade Runner 2049 because they are all stitched together into a clean story. To some it will be a Where’s Waldo? of sci-fi storytelling and to others the simple nostalgia of exploring Isaac Asimov’s themes of the Robot and the Self will be worth a revisit.
Many questions are asked in the lengthy 2 hour-and 43 minute-long film, and some, but not all, will be answered, disappointing a few loyal fans of the original. Deaths of characters and actors since the original limit the return of certain characters from the original, but where they happen it’s done right. One scene, however, is a complete misfire–a character walked onto the screen to the gasp of this reviewer’s theater audience, only to find it wasn’t really who was expected based on the build up of the scene. But the biggest misfire is Villeneuve’s use of sound and score. Villeneuve turned to Benjamin Wallfisch and Hans Zimmer for the musical score, unfortunately creating a dreadful use of sound in the film, compared to the original film’s excellent score by Vangelis. Where the use of Vangelis’s synthesized cautious, futuristic melodies took a backseat to story and dialogue in the original, here Wallfisch and Zimmer lean on dissonant John Cage-esque chords and blare noises like someone sitting on a piano or a kid plugging his guitar into an amp for the first time, over and over, at full volume–the aural equivalent of J.J. Abrams’ lens flares. The poor sound takes away from a visual work that could have benefitted from a closer look at the use of sound in the original. I.e. take at least one earplug along, especially in an IMAX or other digital theater.
Ridley Scott’s neo-noir, sci-fi masterpiece Blade Runner is one of science fiction’s classic films. Released in 1982, Blade Runner, a loose adaptation of Philip K. Dick’s novel Do Androids Dream of Electronic Sheep? revealed a world of life-like borgs called Replicants hiding among us in the year 2019. Scott is back, this time as an executive producer, for the surprise sequel Blade Runner 2049, directed by Denis Villeneuve (Sicario, Arrival).
Top billing this time goes to Ryan Gosling, who wasn’t born yet when the original was in production. Harrison Ford returns, as seen in the trailer released this week by Sony and Columbia Pictures. Blade Runner is known for its brilliantly realized future city, and the teaser includes no indication of whether it will be set in the giant wonder of technology that was the city where Harrison Ford’s Deckard hunted Replicants and befriended one in Sean Young’s beautiful damsel in distress, Rachael. Young appeared in last year’s Western Bone Tomahawk. Will she have a surprise cameo in Blade Runner 2049?
Other actors appearing are Suicide Squad’s Jared Leto (a pretty gross fellow in the trailer), The Princess Bride’s Robin Wright, Ant-Man’s David Dastmalchian, and Guardians of the Galaxy and Spectre’s Dave Bautista. Here’s the new full-length trailer for Blade Runner 2049:
