By Lynn Venhaus

A masterful melding of massive spectacle, heartfelt high-stakes performances, and astonishing visual artistry, “Dune: Part Two” expands the mythic hero’s journey to its full potential.

After the global embrace of “Dune” in 2021 as a stunning adaptation of Frank Herbert’s 1965 book, considered the best-selling science fiction novel of all-time, the sequel has been highly anticipated to complete the first book on screen.

Part Two chronicles the novel’s second half, which follows a feudal interstellar society in a galaxy far, far away. At this time, while seeking revenge against the conspirators who destroyed his family, Paul Atreides (Timothee Chalamet) unites with Chani (Zendaya) and other Fremen. Forced to make either a personal choice or save the fate of the known universe, he endeavors to prevent a terrible future only he can foresee.

While it’s more riveting because of the whole picture, there could always be further character development due to its gigantic scope – nevertheless, the entire arc’s lucidity is much improved here.

In the first’s attempt at world-building, the narrative was largely unwieldy. However, no one could deny its mesmerizing grand-scale wizardry. (A second viewing really helped sort out the planets and houses).

Now that we are familiar with the desert wasteland Arrakis, the risks between the warring dynasties are made clearer. That is, for those of us who didn’t read Herbert’s first novel (or the other five in the “Dune” series).

‘Spice,’ the most precious resource in this universe’s existence, spurs the malevolent forces who want to control its extraction in Arrakis, because it is necessary for space navigation and its multidimensional awareness and foresight properties.

By picking up where the first left off, this second part effectively ties up loose ends, and deepens what is at stake. The focus narrows on young Paul Atreides, who must grow from an unseasoned boy, without his royal father to guide him, into the man he needs to become. Sacrifices must be made, and he continues to manifest his future in visions/dreams.

The religious and political implications of whether he is fulfilling a prophecy is what makes for propulsive viewing. The screenplay, co-written by director Denis Villeneuve and Jon Spaihts, contains requisite bombastic and brutal confrontations, but also includes sincere intimate moments that give the film its beating heart.

To that end, all the actors in this finely-tuned sprawling ensemble bring their A game, but Chalamet discernibly takes the reins – and without question, has come into his own as Paul.

It’s an emotionally charged turn, as he conveys a range of feelings, tormented by the burden of expectations and the challenge of learning ways to survive, especially conquering fear. As he notably rises above the pressures, his brooding Paul summons a strength that is exhilarating to watch.

Chalamet is fully invested as the gifted heir of the noble house of Atreides, who saw nearly everyone he cared about massacred. As the Harkonnen sharpen their attacks, Paul, who escaped Caladan with his mother to find refuge in Arrakis, is aided by the Fremen so that his people, and his family, have a future.

Whereas in the first, he was a blank slate “to the manor born,” and being groomed to take over. He accepted his duties, although reluctantly. But now, it’s urgent that he ascend into this pre-ordained role, and the question looms about his readiness. So far, he’s demonstrated heroic bravery and fierce loyalty, and must believably transform to meet the moment.

Now called “Usul,” or “Muad’Dib,” the Fremen respond to him with reverence – if they believe he is their savior. There are skeptics, though.

His mother, Lady Jessica (Rebecca Ferguson), becomes a Reverend Mother, and has a more fully developed role, steering her son towards his destiny and acting mysteriously as she prepares for the birth of her second child, a daughter. Ferguson is shrewdly alert and misses nothing as Leto’s widow.

Zendaya is more prominent as well, as Chani, a devoted and fearless Fremen warrior. Paul, a nobleman, is everything she has previously despised, but admiring his derring-do, they fall in love. That, of course, is complicated, and the two become a dynamic duo. Now bona fide movie stars, the camera loves both actors.

Also given more heft is venerable Javier Bardem as the courageous and wise Stilgar, who becomes a mentor and protector of Paul, fully believing that he is the next Messiah “as written.”

In a spellbinding scene pitting man against “a grandfather” sandworm that is one of cinema’s most astounding ever, Paul wins over a majority of Fremen. This is the money shot folks will be talking about for a long while.

Bardem is terrific, and so is Josh Brolin, who returns as brawny Gurney Halleck, the war master of the House of Atreides, who is one of Paul’s trusted advisors. Noteworthy, too, is Souheila Yacoub as Shishakli, a powerful Fremen sandrider.

On the dark side, a hulking, menacing Dave Bautista rages as Beast Rabban, part of the ruthless Harkonnen House, never to be trusted, and Stellan Skarsgard is a slimy and treacherous baron, a grotesque cross between Jabba the Hut and Palpatine in the “Star Wars” universe.

New to the story is a mind-blowing Austin Butler as the diabolical Feyd-Rautha, the baron’s cruel nephew and heir apparent. A cunning psychopath, the na-baron is imposing physically, and Butler’s transformation is startling. He proves that he is no one-trick pony after his breakthrough Oscar-nominated role as Elvis in Baz Luhrmann’s biopic last year.

Another new wrinkle is Florence Pugh as savvy Princess Irulen, daughter of the scheming emperor, smartly played by Christopher Walken. Pugh is properly regal, and while she only has one scene with her “Little Women” suitor Chalamet, it’s a showcase for all – the battle royale.

The cast serves the complexities of the characters well, we care more about their fates, and while the uninitiated might not understand all the elements at play, this trajectory is much smoother with this second helping.

Villeneuve establishes himself as a true visionary here – while I’ve enjoyed many of his films (“Blade Runner 2049,” “Arrival,” “Sicario” among them), and he is a meticulous craftsman, this is the first time I understood his fully realized end game, how the storytelling rose to the level of the visual effects.

If “Oppenheimer” is Christopher Nolan’s magnum opus, then “Dune: Part Two” is Villeneuve’s. What is impressive about both directors is their desire to create cinematic experiences, films that demand big-screen viewings because they fill the screen with wonder.

It was also smart to delay the sequel’s release date from November because it becomes the first welcome and sorely needed blockbuster of 2024. Mark my words, if “Dune: Part One” won six Oscars two years ago (original score, sound, film editing, cinematography, production design and visual effects), clear the trophy case for this latest during next year’s awards season.

The mythology’s epic scale is presented in a next-level, state-of-the-art artisanal way. Oscar winner Greig Fraser’s cinematography again dazzles with his panoramic planetary landcapes, scary sandworm eruptions, and grisly gladiator confrontations.

Production designer Patrice Vermette has created eye-popping worlds distinguishing each planet and house. Hans Zimmer’s stirring music effectively underscores the action and enhances the moods.

The first film was 2 hours and 35 minutes, and this follow-up adds 11 minutes, but didn’t detract. It certainly sets up an eager anticipation for “Dune: Part 3,” which is supposedly in the works, and will be based on the second novel, “Dune: Messiah.”

Villeneuve’s “Dune” series is the most successful to date for the devoted fan base. Filmmaker Alejandro Jodorowsky attempted a film adaptation in the 1970s but was cancelled after three years in development. Then David Lynch made a complex adaptation in 1984, which was not well-received, although fans were receptive to a Sci-Fi Channel miniseries in 2000.

With its breath-taking and jaw-dropping visuals and big-stakes bravado, “Dune: Part 2” is an enthralling cinematic marvel that we can both admire and enjoy.

“Dune: Part Two” is a 2024 science fiction action-adventure directed by Denis Villeneuve and starring Timothee Chalamet, Zendaya, Rebecca Ferguson, Austin Butler, Javier Bardem, Josh Brolin, Florence Pugh, Christopher Walken, Dave Bautista, Stellan Skarsgard and Charlotte Rampling. It is rated PG-13 for sequences of strong violence, some suggestive material and brief strong language, and its runtime is 2 hours, 46 minutes. It opens in theatres March 1. Lynn’s Grade: A.

By Lynn Venhaus

One thing about Tom Cruise: Love him or hate him, he is a consummate entertainer. And let’s face it, we’re sucked into Cruise’s World nearly every time he headlines an adventure trying to save the world.

If there is peril, he shows up. He knows how to throw himself to a rip-roaring yarn, as he has proven time and again. In yet another bold, brash move as Ethan Hunt, he pushed himself with death-defying stunts that are among the most dazzling in movie history in this seventh one, “Mission: Impossible – Dead Reckoning Part One.”

His Impossible Missions Force team must track down a dangerous weapon before it falls into the wrong hands. With control of the future and the fate of the world at stake, and dark forces from Ethan’s past closing in, a deadly race around the globe begins.

Now 61, Cruise was 57 when filming initially started, so give him credit for stretching himself physically, a remarkable feat. For a glimpse of the risky business — Exhibit 1: Motorcycle stunt on the edge of a cliff. My jaw dropped and my stomach flip-flopped when he freefalls.

That might not top the helicopter chase in “Fallout” (MI:6), also filmed by now head cinematographer Fraser Taggart, but it’s a dandy and among several terrifying set pieces including an extensive pulse-pounding pursuit through the streets of Rome and fights on aboard and on top of a speeding train (and not just any train, but THE Orient Express).

While not as emotionally impactful as Cruise’s “Top Gun: Maverick,” last year’s sequel to a 1986 film that proved to be more successful than anyone thought – I mean, 36 years later? — “MI 7” played to his strengths.

Because he exceeded expectations for making the 2022 top-grossing film of the year ($718,732,821, to be exact), and was an Oscar nominee for Best Picture, there is a great deal of current goodwill. Some said he “saved Hollywood” by getting people into theaters post-pandemic. Let’s see if he repeats.

MI7 produces the thrills that define a crowd-pleasing blockbuster, but not the chills, and perhaps still will be a summer success after a few other tentpoles sputtered.

There is a sense of comfort in nostalgia. Like John Williams’ rousing Indiana Jones score, composer Lorne Balfe uses variations of Lalo Shifrin’s iconic TV series theme song to punctuate the action.

As with Harrison Ford returning as Indy, Cruise settles into another beloved familiar character, fearless American secret agent Ethan Hunt. Based on the Emmy-winning TV show (1966-1973) formula created by Bruce Geller, this covert Impossible Missions Force spans the globe fighting international terrorists in sophisticated ways.

After 27 years, we expect elaborate action and increasingly complicated high-tech plots. The first feature film directed by Brian De Palma was successful in 1996, its sequel stumbled in 2000 directed by John Woo, came back super-charged by director J.J. Abrams with Philip Seymour Hoffmann as a cunning villain in 2006, was even better in director Brad Bird’s “Ghost Protocol” in 2011, followed by what some say are the best ones in Christopher McQuarrie’s “Rogue Nation” in 2015 and “Fallout” in 2018. Now we have a long, dense follow-up in “Dead Reckoning,” a first part that is 2 hours and 43 minutes.

Hayley Atwell is the slippery Grace, Tom Cruise is Ethan Hunt, world savior.

McQuarrie, who directed and co-wrote the script with Erik Jendresen, has been a consistent collaborator with Cruise during the 21st century. They first worked together on “Valkyrie” in 2008, followed by “Jack Reacher,” which he directed, and “Edge of Tomorrow.” That led to writing and directing the fifth and sixth ones, the first repeat director.

McQuarrie won the Oscar for his original screenplay “The Usual Suspects” in 1995 and was nominated last year for the adapted screenplay of “Top Gun: Maverick.”

The man who created Keyser Soze knows his way around criminal masterminds, but there’s a less than compelling one in sinister Gabriel, played by Esai Morales. He somehow is connected to the evil algorithm “The Entity,” which is so advanced it manipulates reality and the truth to cause endless chaos.

The menace is never-ending, although the enigmatic plot is dull. However, four interesting actresses shine in strong-willed roles: Hayley Atwell, Pom Klementieff and Vanessa Kirby, while Rebecca Ferguson returns for round three as MI6 operative Ilsa Faust.

Even with his energy and intensity, Cruise needs strong support, which he gets from the unsung heroes Simon Pegg as tech turned field agent Benji Dunn and Ving Rhames as wingman Luther Stickell.

Foe-turned-frenemy Atwell distinguishes herself as the slippery Grace. Since 2011, she has played beloved Peggy Carter, Captain America’s one true love, in all things Avenger-related in the Marvel universe (TV and film).

 Oscar-nominated Kirby returns as the mysterious White Widow from “Fallout,” still sketchy, and a ferocious Klementieff, Mantis in the “Guardians of the Galaxy” films, is cold-blooded assassin Paris.

It’s a stacked cast. Cary Elwes is CIA’s Denlinger and Henry Czerny, from the first movie,  is back as Kittredge, while Shea Wigham and Greg Tarzan Davis are agents Briggs and Degas hot on the trail.

Czerny, with his ace delivery, has the best line: “Your days of fighting for the so-called greater good are over. This is our chance to control the truth. The concepts of right and wrong for everyone for centuries to come. You’re fighting to save an ideal that doesn’t exist. Never did. You need to pick a side.”

It’s a very different global playing field from when they first launched the feature film. They’ve all been high-octane state-of-the-art thrillers, but this one is hyper-speed. Stunts aside, their mission has always been against shadowy figures hell-bent on ruthless power. Noble, sure, but do we care?

My main beef is that it’s not so much a nail-biter as it is an exercise in endurance. The mumbo-jumbo about “The Entity” gets ridiculous.

Yet, the adrenaline rush takes over viewing. Think of it as a summer sojourn to Cruise World. We are all pulled into his orbit. We’ll see what he’s up to next June, as no. 8 is set for June 28, 2024.

“Mission Impossible Dead Reckoning Part I” is a 2023 action-adventure directed by Christopher McQuarrie and starring Tom Cruise, Hayley Atwell, Esai Morales, Rebecca Ferguson, Ving Rhames, Simon Pegg, Cary Elwes, Henry Czerny. It is rated PG-13 for intense sequences of violence and action, some language and suggestive material .and runs 2 hours and 43 minutes. It opens in theaters on July 12. Lynn’s Grade: B-.

By Alex McPherson

Featuring incredible stunts, timely themes, and an engaging, though imperfect balance between goofiness and sincerity, director Christopher McQuarrie’s “Mission: Impossible – Dead Reckoning Part 1” is a reliably fun action-espionage blockbuster, if occasionally weighed down by inelegant plotting.

“Dead Reckoning,” the seventh installment in the “Mission” series, follows rebellious daredevil Ethan Hunt (Tom Cruise) and his loyal, idiosyncratic Impossible Mission Force comrades Benji Dunn (Simon Pegg), Luther Stickell (Ving Rhames), and love interest Ilsa Faust (Rebecca Ferguson), as they embark on yet another death-defying mission to save humanity from itself.

They’re after two halves of a key that could allow them to destroy a rogue artificial-intelligence algorithm generically called “The Entity,” which has the power to upend civilization as we know it. Any and all global powers (including the CIA, led by Henry Czerny’s Eugene Kittridge, previously featured in the first “Mission” film) want to harness it for their own militaristic ends.

Despite its eye-rolling name, The Entity is an eerily prescient antagonist for Ethan and company to square off against — essentially the ultimate spy, able to infiltrate our always-online existence to control the nature of truth itself, plus, most likely, all the world’s weapons. Nowhere is safe from the Entity’s grasp.

The team’s plans are complicated with the unexpected arrival of courageous thief Grace (Hayley Atwell), walking a thin tightrope between friend and foe, who must eventually join sides with Ethan, along with the Entity’s human envoy, Gabriel (Esai Morales), a villainous ghost from Ethan’s past that contributed to him joining the Impossible Missions Force in the first place.

Also joining the fray is the White Widow (Vanessa Kirby, both seductive and goofy) from “Fallout,” and two frustrated U.S. agents always one step behind (Shea Whigham and Greg Tarzan Davis), who might or might not eventually shift their morals.

As the team embarks on a globe-trotting adventure in locales such as Rome and Norway, everyone is put to the test, and Ethan must reckon with saving those he loves over succeeding in his goals, all the while dealing with an unpredictable adversary that can seemingly predict his every move and turn his own gadgets against him. It can’t quite account for human ingenuity, or Ethan’s/Cruise’s unwavering commitment to putting themselves at risk for viewers’ entertainment.

Indeed, “Dead Reckoning” is, at times, a glorious spectacle — the practical stunt work on display puts the recent “Indiana Jones and the Dial of Destiny” to shame. With McQuarrie’s energetic direction and solid performances across the board, from Cruise especially, the latest “Mission” film delivers on the action front, though the twisty narrative lacks the visceral punch of the thunderously memorable set pieces.

And lordy, are those sequences invigorating to behold — filmed with a clarity by cinematographer Fraser Taggart that lets all the practical stunt work shine; largely eschewing CGI to forefront athleticism, which lends a (relatively speaking) grounded feel to the proceedings.

Lorne Balfe’s blaring score adds additional oomph. The much-publicized motorcycle-to-base-jump off the steep Norwegian mountainside is suitably spectacular, but a frantic chase through Rome — with Ethan and Grace handcuffed to each other driving a Fiat while being pursued by authorities and a sadistic killer named Paris (a scene-stealing Pom Klementieff) — is possibly the standout set-piece: full of bombastic slapstick comedy and split-second decision making that feels dangerous and thrilling. 

And the train showdown, holy moly, does not disappoint in the slightest, featuring edge-of-your-seat filmmaking that consistently ups the ante moment-to-moment as gravity begs to differ. Add to that a considerable helping of bone-crunching hand-to-hand combat (one brawl taking place in a narrow alley), and all the gratuitous running from Cruise we’ve come to expect, “Dead Reckoning” is worth watching for these scenes alone, bolstered by the cast’s commitment to this self-aware, somewhat messy tech-paranoia plot.

Hayley Atwell, Tom Cruise

Cruise continues to shine as Hunt, an ”agent of chaos” (as one character calls him) who’s willing to throw himself into danger for the greater good, but being forced to make impossible decisions to protect his friends and loved ones. Cruise’s portrayal lacks the emotional weight of his efforts in last year’s “Top Gun: Maverick,” but he still excels, nimbly navigating the film’s ludicrous plot developments and comedic relief with comforting self-awareness.

Pegg and Rhames provide equal parts comedic relief and pathos (grappling with the Entity’s manipulation of their advanced technology, such as the Entity impersonating their voices), while feeling underused and relegated to the background for most of the runtime. Ferguson is badass as always, as is Atwell, who lends spunk to her character of Grace and has palpable chemistry with Cruise. Grace takes on a pretty standard backstory/arc, yet is always fun to watch thanks to Atwell’s energy and inherent likability.

Morales is solid but unmemorable as the Entity’s henchman (even though McQuarrie tries his darndest to make us care from some rushed flashback revelations), and Klementieff deserves more screen time as a scarily ruthless assassin. The ensemble is always enjoyable — fully committed to the screenplay’s occasionally screwball rhythms — when all we’re really waiting for is the next harrowing spectacle to unfold. 

“Dead Reckoning” isn’t an all-out action film, however, and McQuarrie’s just as focused on the espionage narrative, which can’t live up in comparison, and lacks the creativity of the set pieces. The Entity is certainly a timely antagonist, but it remains difficult to care about much in the “Mission” universe because of the screenplay’s need to over-explain and “tell rather than show” regarding its capabilities, barring a couple memorable situations.

Although the film’s exposition-dumping approach is a staple of the genre, it lacks much emotional impact; the frequent flashbacks similarly try (and only half-heartedly succeed) to churn up investment, and the film’s constant forward momentum leaves little time for reflection, or opportunities to meaningfully dig into the psyches of its characters — even with a nearly three-hour runtime. 

To the screenplay’s credit, in a meta-textual sense, Cruise has also been a fierce defender of the cinematic experience, so Hunt’s battle against an evil algorithm could extend to Cruise’s own defense of practical stunts, the “theater experience,” and the increasingly bloated streaming ecosystem. Looking at “Dead Reckoning” from this angle makes the labyrinthine plot a touch more meaningful.

Despite these shortcomings, what really stands out about “Dead Reckoning” is the chutzpah of its creators. By the end of its runtime, it leaves an indelible impression as an achievement in action filmmaking. Regardless of storytelling stumbles, this is a must-watch on the biggest screen you can find — let’s just hope “Part 2” can deliver more on the character front.

This image released by Paramount Pictures shows Simon Pegg, from left, Ving Rhames, Tom Cruise and Rebecca Ferguson in “Mission: Impossible Dead Reckoning – Part One.” (Christian Black/Paramount Pictures and Skydance via AP)

“Mission Impossible Dead Reckoning Part I” is a 2023 action-adventure directed by Christopher McQuarrie and starring Tom Cruise, Haley Atwell, Esai Morales, Rebecca Ferguson, Ving Rhames, Simon Pegg, Cary Elwes, Henry Czerny. It is rated PG-13 for intense sequences of violence and action, some language and suggestive material .and runs 2 hours and 43 minutes. It opens in theaters on July 12. Alex’s Grade: B+.

By Lynn Venhaus
As far as big-budget cosmic spectacles go, “Dune” is impressive at filling the screen with wonder.

Directed by visionary Denis Villeneuve, who frames everything with meticulous care, as he did with “Arrival,” his only Oscar nomination, and “Blade Runner 2049” – the film is a technical marvel, with visually stunning panoramas and innovative flying machines.

A mythic hero’s journey, “Dune” is the big-screen adaptation of Frank Herbert’s seminal 1965 bestseller about a feudal interstellar society in a galaxy far, far away, which is set in a distant future.

It’s the story of Paul Atreides, a gifted young man born into a great destiny beyond his understanding. As part of the noble house of Atreides, he must travel to Arrakis, the most dangerous planet in the universe for the future of his family and people.

The desert wasteland planet has an exclusive supply of “mélange,” aka “the spice,” a drug that extends life and enhances mental abilities. As it is the most precious resource in existence, malevolent forces are at work to prevent this, and only those who can conquer their fear will survive.

Yet are these characters engaging enough? How much do we care about what happens to these political dynasties? They prefer to whisper in cavernous spaces, and while mesmerizing Zendaya’s narration helps, the project’s mythology on such an epic scale tends to weigh it down with “importance.”

Our hero’s journey is a very long one and we spend 2 hours and 35 minutes leading up to a next chapter. This is only Part One. We are warned at the end, when one character says to Paul: “You’re just getting started.” The payoff isn’t quite there – so when is Part Two?

We have just invested time on an extended prologue. Oh dear. Will only fans of the book be able to appreciate this saga? And isn’t that the true test? As is always the case, those not familiar with the source material will be at a disadvantage trying to keep up with the warring factions.

Josh Brolin, Oscar Isaac and Stephen McKinley Henderson

Considered the best-selling science fiction novel of all-time, “Dune” is gigantic in scope, and the 1965 cult classic touches on themes involving politics, religion, ecology, technology, and human emotion, threading them all together in space.

The empire’s other planets want control of Arrakis for its spice, which is also necessary for space navigation because of its multidimensional awareness and foresight.

“Dune” is only the first in a series, followed by Herbert’s five sequels: Dune Messiah, Children of Dune, God Emperor of Dune, Heretics of Dune, and Chapterhouse: Dune. After his death, others have kept the franchise going.

Its devoted fan base inspired filmmaker Alejandro Jodorowsky to attempt a film adaptation in the 1970s but it was cancelled after three years in development. Along came David Lynch’s complex adaptation in 1984, which was a harshly received misguided mess, and there was a Sci-Fi Channel miniseries in 2000.

While light years ahead of the 37-year-old film, “Dune” does seem to have the same problem about adapting something so unwieldy – that the character development suffers.

It’s difficult to figure out the planetary relationships and who’s who among the different groups, even with a strong cast that attempts to make everything as lucid as possible.

This one does attempt to over-correct in a tedious way, with a screenplay by director Villeneuve, Jon Spaihts (“Doctor Strange,” “Prometheus”) and Eric Roth, Oscar winner for “Forrest Gump,” that still is lacking in explanations.

Paul is played with youthful elan by Timothee Chalamet, who seems to be working non-stop. His character, burdened by birthright, is actually the least interesting of the massive ensemble – but the camera loves him, and he looks good standing in many shots of wind and blowing sands, contemplating.

Chalamet has genuine interactions with his father, an authoritative but loving Duke Leto Atreides, well-played by the always captivating Oscar Isaac. With warm fatherly advice, Isaac tells him: “A great man doesn’t seek to lead; he’s called to it.”

It’s not his fault that Paul is a blank slate. He is being groomed to take over, and while at times reluctant and confused, he ultimately accepts his duties. His mother, all-serious Lady Jessica, is a tough taskmaster, and subtly played by Rebecca Ferguson, they have a protective relationship.

Far more compelling is Jason Momoa as the fierce warrior Duncan Idaho. He brings some oomph to the fighter’s bravado and his fists of fury are legitimate. Momoa and Chalamet warmly convey a loyal long standing friendship.

Not given much to do is Josh Brolin as Gurney Halleck, the duke’s right-hand man, and Dave Bautista as antagonist Beast Rabben Harkonnen – along with Momoa, they are the recognizable fighters.

A barely there Javier Bardem is Stilgar, a leader of a desert tribe. An unrecognizable Stellen Skarsgard appears, Jabba the Hut-like, as the disgusting despot Baron Vladimir Harkonnen. The Harkonnens are the evil not-to-be-trusted bad guys.

The first hour is full of awe. But why do movies about the future tend to mix medieval and “Star Wars” knock offs in production design and costumes, similar to the “Game of Thrones”? The color palette is deary shades of gray, beige and black.

While that gets wearisome, the cinematography of Greig Fraser is dazzling. An Emmy winner for “The Mandalorian” and Oscar nominee for “Lion,” he expresses the grandeur of the planets’ landscapes as well as the more intimate moments in various degrees of light.

He worked on “Rogue One: A Star Wars Story” and the upcoming “The Batman,” so tackling sandworms and spaceships is natural for him. His majestic work is one of the pleasures of seeing this in IMAX.

Hans Zimmer’s score is a stirring mix projecting danger and derring-do in dissonant chords, setting an urgent tone for action.

Dune (2021).TIMOTHEE CHALAMET.Credit: Chia Bella James/Warner Bros.

Despite its storytelling flaws, “Dune” is such a monumental example of state-of-the-art filmmaking that its cinematic universe deserves to be seen on the big screen.

“Dune” is a 2021 science-fiction action adventure directed by Denis Villeneuve. It stars Timothee Chalamet, Rebecca Ferguson
, Zendaya, Oscar Isaac, Josh Brolin, Jason Momoa, Dave Bautista, Stellan Skarsgard, and Javier Bardem. Rated PG-13 for sequences of strong violence, some disturbing images and suggestive material, its run time is 2 hours, 35 minutes. It opened in theaters Oct. 22 and is streaming on HBO Max for 31 days. Lynn’s Grade: B.