“Dune,” the latest cinematic take on the Frank Herbert 1965 classic, now playing in theatres, is part one of the planned two-part series. So be forewarned, the two-and-a-half-hour movie doesn’t wrap things up with a tidy bow. For some, the film’s last line, “This is only the beginning,” will be a promise of more interesting movies ahead, for others, who prefer tighter storytelling and a clear-cut finale, it may come off as a threat.
Director and co-writer Denis Villeneuve benefits from the parceled-out storytelling. Where David Lynch’s ill-fated 1984 version attempted to cover the complexity of the entire book, Villeneuve is given the time for world building, to explain the various and complex spiritual sci-fi elements that make up the story.
Here are the Cole’s Notes.
Set 8,000 years in the future, the story focusses on Paul Atreides (Timothée Chalamet), son of an aristocratic family and possibly, just maybe, a prophet. His father, Duke Leto Atreides (Oscar Isaac), has been bestowed stewardship of Arrakis, the desert planet also known as Dune. His mother, Lady Jessica (Rebecca Ferguson), is part of the Bene Gesserit, a social, religious, and political alliance who can magically control enemies by modulating their vocal tones.
Their new domain, Arrakis, is a desolate, almost inhabitable place that is home to the Fremen, a group of people who have lived on the planet for thousands of years. It is also the universe’s only source of mélange, also known as “spice.” It’s a drug with the power to extend human life, facilitate superhuman planes of thought and can even make faster-than-light travel possible. It is the most valuable commodity in the universe and those who control it, control everything.
When Baron Vladimir Harkonnen (Stellan Skarsgård doing his best impression of Marlon Brando in “Apocalypse Now”), the former steward of Arrakis, double crosses the Atreides clan, Paul and his mother are left in the desert to die. If they are to survive it will be with the help of the Fremen—including Chani (Zendaya) and Stilgar (Javier Bardem)—who call Paul “The Chosen One” and believe he has the power to bring peace to their world.
There’s more. Lots more, but that’s the non-spoilerific version.
Villeneuve lays out the information methodically, allowing the various story points and character motivations to seep into the fabric of the film and make an impact before moving on. There’s a lot to get through, but it doesn’t feel onerous like so many origin stories do.
Also effective are the large scale, and I mean large as in you need three or four eyes to take it all in, action scenes. The entire movie is big. So big it makes even the giant humans Jason Momoa and Dave Bautista, who play swordmaster Duncan Idaho and warrior Glossu Rabban respectively, look puny by comparison. As for the action, Villeneuve pulls out all the stops, staging world ending battles with elegance. Often major battle sequences can be muddled, a blur of colours and glints of metal, but Villeneuve delivers clear cut, tense sequences with a clarity that is unusual for modern action.
“Dune” is big and beautiful, with plentiful action and a really charismatic performance from Momoa. It is unquestionably well made, with thought provoking themes of exploitation of Indigenous peoples, environmentalism and colonialism.
So why didn’t I like it more than I did?
Partially because it’s an epic with no payoff. The cliffhanger nature of the story is frustrating after a two-and-a-half-hour wait. As good audience members we allow ourselves to be caught up in the world, humourless and bleak as it often is, to get to know the characters and then what? Wait for two years for the next movie? Apparently so, and the ending feels abrupt.
Nonetheless, “Dune” is formidable. It’s a grim, immersive movie that doesn’t shy away from the darkness that propels the story or the high-mindedness of the ideas contained within. Eventually, when we have a part two, it will feel like one piece, much like “The Lord of the Rings” franchise, but right now, despite its scope, it feels incomplete.
Truman Capote was the best-known literary writer of his day. The author of “Other Voices, Other Rooms,” “Breakfast at Tiffany’s” and the world’s first nonfiction novel “In Cold Blood” was as famous for his nasally voice and trading bon mots with Johnny Carson as he was for his perfectly crafted prose. A new documentary, “The Capote Tapes” from director Ebs Burnough, dives deep to examine the man behind the talk show clips.
He was, by depending on who you ask a, “candied tarantula,” a charmer with a sharp tongue, or “the most lionized writer since of Voltaire.” His combination of wit and unfettered commentary—”He’s a marvelous performer,” Capote says of Marlon Brando, “but he’s so dumb it makes your skin crawl.”—made him a one-of-a-kind, even in jaded world of New York City high society. “You looked forward to seeing him because you knew it was nobody else like him,” says Lauren Bacall.
Capote died early, at age 59, but left behind a well-documented life. Burnough uses a combination of archival footage, TV appearances, stills and, most importantly, previously unheard audio interviews George Plimpton conducted for a book he never wrote. Some of the footage will look familiar to Capotians, particularly the well documented 1966 Black and White Ball at the Plaza Hotel in New York City, but the audio tapes are exciting and provide new insight.
Interview subjects like Capote’s pal Dotson Rader dig deep, offering up suggestions that the writer never felt loved even though he was adored by millions. Norman Mailer describes Capote’s courage in living as an openly gay man in a repressed era.
The coverage of his literary career, particularly the “In Cold Blood” saga—Capote may have allowed himself to become too close to the story’s subjects—covers familiar ground. It isn’t until the film’s latter half when it explores the writing of “Answered Prayers,” Capote’s ten-years-in-the-making novel on New York’s not-so-polite-society that Burnough tills new ground.
The book was never finished, although he did manage to pound out three chapters of gossipy secrets about his closest friends before his death. Published in excerpts it was reviled as a literary work and destroyed the goodwill Capote had built among the wealthy women he called “his swans.” It was the end of Capote as a great writer and raconteur, and soon he soon lost the battle with booze and drugs.
Was the book simply ahead of its time? Was it Capote’s prescient unveiling of the tell-all celebrity culture that would soon become the norm by way of reality television or was it a misguided attempt at exposing the world around him? The film leans toward the former, but Jay McInerney, interviewed at length, suggests we’ll never know for sure. He’s convinced the book was never finished.
“The Capote Tapes” is a compelling portrait of a pioneer, a brilliant gay man who came from humble beginnings to rise to the top of the literary world on his own terms, even if those terms were ultimately his undoing.
Yesterday rumours on Twitter had it that Michael Caine was retiring from acting, calling it quits after a celebrated career. Turns out that isn’t true!
“Regarding retirement, I’ve spent over 50 years getting up at 6 a.m. to make movies, and I’m not getting rid of my alarm clock!” Caine said in a statement to Variety.
I wanted to share a quick interview soundbite with you from an interview I did with Michael Caine a few years ago. Click HERE to watch the video!
This week on the Richard Crouse Show Podcast we get to know Rob Lindsay, director of “No Responders Left Behind,” a documentary about the fight waged by former “The Daily Show” host Jon Stewart, social activist John Feal and FDNY hero Ray Pfeifer to get health benefits and compensation for 9/11 first responders. The film is now streaming on Discovery Plus in Canada.
Then, Rebecca Ferguson, star of the much anticipated sci fi movie “Dune” stops by to talk about her character Lady Jessica, and why she described reading the book to be like doing a crossword puzzle.
Then, Elaine Taylor Plummer stops by. She is a former actress. You’ve seen her in comedies like “Diamond for Breakfast” and “Half a Sixpence,” and she was even a Bond girl in 1967’s “Casino Royale.” She dropped by the show today to talk about her husband of more than 50 years, the late, great Christopher Plummer and a new commemorative stamp issued by Canada Post in his honour. The couple met while filming Lock Up Your Daughters in 1969, and were together until the actor’s death in 2021 at age 91.
Each week on the nationally syndicated Richard Crouse Show, Canada’s most recognized movie critic brings together some of the most interesting and opinionated people from the movies, television and music to put a fresh spin on news from the world of lifestyle and pop-culture. Tune into this show to hear in-depth interviews with actors and directors, to find out what’s going on behind the scenes of your favourite shows and movies and get a new take on current trends. Recent guests include Ethan Hawke, director Brad Bird, comedian Gilbert Gottfried, Eric Roberts, Brian Henson, Jonathan Goldsmith a.k.a. “The most interesting man in the world,” and best selling author Linwood Barclay.
Listen to the show live here:
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This week, “The Films Are the Heroes, Not the Characters.”
”In today’s world it’s not enough to simply be a hero. Now you must be a superhero. Unlike the old days when square-jawed movie stars rescued damsels in distress or battled cold-hearted landlords, today’s champions won’t get out of bed for anything less than the threat of complete world annihilation. Liberating a cat from a tree or performing the Heimlich Maneuver is considered HeroLite™, the work of lesser lifesavers…”
Read the rest, subscribe and check out past issuesHERE!
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“Have I said this before? These newsletters are f’kng great. I look forward to each one. Great ground work for series of memoir-ish thoughts published in larger form. Very entertaining, insightful into the work you do, and occasionally with gentle glimpses into the people you meet.” “I love the little stories. A small glimpse into people lives and what makes them tick. Thanks.” “Richard are you the most normal person covering movies? Somehow this feels very Canadian – open, self-deprecating, low key, honest…very refreshing! PS I love your movie reviews on TV too.” “Your personal take on the millions of stories you have with entertainment life are a joy to read.” “I always enjoy these weekly vignettes.” “Great article, Richard, thanks! Well written and so relatable. Take care!” “Love the way you make each of your issues relatable.” “Great story, Richard. Funny how some things lurk in the recesses of our minds. Thanks for sharing.” “These slices of life interludes are terrific! Thank You” “Loved this, I felt like I was right there with you guys. Great read.” “Enjoying the personal background, as well as the career insights.” “Your stories are both informative and entertaining. You strike a perfect balance.” “I like your fun and accessible style!” “I’ve always found Richard to be one of the best interviewers in the entire realm of media today. Always entertaining and informative. Keep up the good work!” “These weekly visits are enjoyable. Thanks.” “I really enjoy these. Keep them coming!” “Great story, I really enjoyed reading it. Looking forward to the next issue! Thank you.” From Father’s Day: “Your father was a wise man, Richard, and it obviously rubbed off on you. Always enjoy your articles and interviews. Keep up the good work and stay safe and well.” “Enjoy listening to your thoughts and stories!”
Richard joins Ryan Doyle and Jay Michaels of the NewsTalk 1010 afternoon show The Rush for Booze and Reviews! Today he talks about the Death in the Afternoon, a drink that sprung from Ernest Hemingway’s legendary liver, the Death in the Afternoon, the new “Velvet Underground” documentary, the latest from Michael Myers “Halloween Kills” and the reason Andrew Lloyd Weber bought a comfort dog.
Richard joins CP24 to have a look at new movies coming to VOD, streaming services and theatres including the lumbering return of Michael Myers in “Halloween Kills,” the emotional family drama “Mass” and the rock ‘n’ roll documentary “The Velvet Underground.”
Richard and CTV NewsChannel morning show host Jennifer Burke chat up the weekend’s big releases including the relentless return of Michael Myers in “Halloween Kills,” the emotional family drama “Mass” and the rock ‘n’ roll documentary “The Velvet Underground.”
Richard sits in on the CFRA Ottawa morning show with host Bill Carroll to talk the new movies coming to theatres, VOD and streaming services including the lumbering return of Michael Myers in “Halloween Kills,” the emotional family drama “Mass” and the rock ‘n’ roll documentary “The Velvet Underground.”
“Dune,” the latest cinematic take on the Frank Herbert 1965 classic, now playing in theatres, is part one of the planned two-part series. So be forewarned, the two-and-a-half-hour movie doesn’t wrap things up with a tidy bow. For some, the film’s last line, “This is only the beginning,” will be a promise of more interesting movies ahead, for others, who prefer tighter storytelling and a clear-cut finale, it may come off as a threat.
