After 2021’s “Dune” was relegated to the small screen in the wake of pandemic related theatre closings, this weekend, the long awaited “Dune Part 2” brings the thunder, debuting on screens suitable for the story’s epic scale. The sci fi saga starring, well, almost everyone, in a sprawling cast headed by Timothée Chalamet, Zendaya and the giant sandworms who are literally and figuratively the film’s biggest stars, will play exclusively in theatres.
Wrestling novelist Frank Herbert’s expansive story of a psychedelic drug called Spice and reluctant messiah Paul Atreides, into a comprehensible movie has confounded filmmakers for decades. Most notably, David Lynch adapted the 1965 novel into a noble 1984 failure. The story is complex, with many characters and big, brainy concepts.
As a result, the spectacle of “Part 2,” on its own, isn’t for casual viewers. The last movie ended with Fremen warrior Chani (Zendaya) saying “This is only the beginning,” which means the new film isn’t a sequel, or a reboot. It’s a continuation, the second part of the story director Denis Villeneuve began in 2021, and to understand the story, you have to see the first film.
Equal parts action packed and philosophical, “Part Two” picks up where “Dune” left off. Set 8,000 years in the future, Atreides (Chalamet) son of an aristocratic family, and once heir to the planet of Arrakis, a desolate, almost inhabitable place, but rich in the lucrative, and psychedelic Spice, that is home to the Indigenous Fremen people.
Betrayed by Baron Vladimir Harkonnen (Stellan Skarsgård), the former steward of Arrakis, the family is all but wiped out, with Atreides and his mother, Lady Jessica (Rebecca Ferguson), left in the desert to die. If they are to survive it will be with the help of the Fremen—including Chani and Stilgar (Javier Bardem), leader of the Fremen tribe at Sietch Tabr—who call Atreides “The Chosen One” and believe he is a prophet with the power to bring peace to their world.
“Part 2” sees Atreides embedded with the Fremin in a mission of revenge against the House Harkonnen, the treacherous Baron, his sinister nephews, the brutish Beast Rabban (Dave Bautista) and Feyd-Rautha (Austin Butler), who Atreides holds responsible for the death of his father. Fighting gallantly alongside the Fremin, he’s mostly unconcerned with their belief that he is their messiah. His feelings for Chanti and his thirst for creating a conflict that will place him within striking distance of Emperor Shaddam IV (Christopher Walken), his daughter Princess Irulan (Florence Pugh), and Bene Gesserit Reverend Mother and the Emperor’s Truthsayer, Mohiam (Charlotte Rampling), are top of mind.
As the reckoning approaches, Atreides is plagued by terrible visions of the future.
There is so much more, but that is essentially the peg on which Villeneuve hangs his epic vision of Herbert’s tale. The director gives voice to the author’s study of vengeance, spirituality, fanaticism, liberation and conquest, articulating the story’s humanist nuances in the framework of a film that can only be described as a spectacle. It’s a bigger, wilder vision, an answer to the stately elegance of the first film.
The action sequences fill the screen. Villeneuve overwhelms the senses with grand images of desert warfare and Atreides sand surfing courtesy of giant “grandfather sand worms.” It’s blockbuster filmmaking writ large, exciting and laced with high stakes. Perfect for IMAX screens.
But the action sequences wouldn’t mean much if the film’s world building and characters didn’t set the stage. Arrakis is a sand swept hell, so immersive you’ll think you have sand in your underpants by the time the end credits roll. The vision of the planet is aided considerably by Greig Fraser’s gorgeous cinematography.
The devil, though, is in the details. On an arid planet, the Fremin syphon water from the bodies of their vanquished enemies to use in their cooling systems. Minutiae like this, and more, give the story depth, creating an exciting world for the characters to inhabit.
The stacked cast of a-listers deliver. Chalamet’s character comes of age on his hero’s journey, shedding any boyish traits Atreides may have had, to become a worm riding warrior and leader of armies.
Also making a mark is Butler as the eyebrow-challenged Feyd-Rautha (the part played by Sting in the Lynch’s adaptation). He maintains the rock star swagger of Elvis, his best-known role, but brings the danger as the sadistic nephew and heir.
It’s good stuff that showcases Villeneuve prowess, even if it feels rushed in its last act.
What Villeneuve isn’t good at, are endings. His first “Dune” film left audiences hanging, finishing up with no definitive ending. The end of “Dune Part 2” doesn’t dangle in quite the same way, but tensions are still unfolding as the end credits roll. Looks like we’ll have a “Part 3” coming in a couple years.
Despite the open-ended conclusion, however, “Dune Part 2,” with its stunning visuals, deep emotional core and good performances, suggests “Part 3” will be worth the wait.
Adam Sandler’s career arc is wide and weird. Rotten Tomatoes lists dozens of films, ranging from the wacky “The Ridiculous 6,” which earned a 0% approval rating, to the dramedy “Hustle” that clocks in at a healthy 93%. In between is a wildly diverse collection of movies that vacillate from beloved comedy classics like the goofy “Happy Gilmore” to the Oscar nominated “Uncut Gems.”
His latest, “Spaceman,” now streaming on Netflix, is something new, an outer space marital drama featuring the comedian as a Czech astronaut on a mission to Jupiter, who receives personal advice from an extraterrestrial six-eyed hairy spider, voiced by Paul Dano.
In space, nobody can hear you scream… but a giant spider can read your mind.
Based on Jaroslav Kalfař’s novel “Spaceman Of Bohemia,” the story revolves around Commander Jakub Procházka (Sandler), a withdrawn astronaut on a solo six-month mission to the fifth planet from the Sun. During a live press conference from space, organized by Commissioner Tuma (Isabella Rossellini), a child asks him, “Are you the loneliest man in the world?”
He may well be.
He hasn’t had a message from his pregnant wife Lenka (Carey Mulligan) in a long time. Unbeknownst to him, she has tired of being alone and sent him a Dear John transmission, which was suppressed by Tuma. “He’s not doing well,” Tuma says, fearing for Jakub’s mental health. “He misses his wife.”
Left adrift in space, alone and cut off from Lenka, Jakub receives relationship guidance from a large, chatty spider who says, “Your loneliness intrigued me. I wish to assist you in your emotional distress.” Whether the celestial spider is real, or a figment of Jakub’s fevered imagination, their conversations are therapeutic, forcing him to reassess his life and relationships.
“Spaceman” doesn’t play any of this for laughs. It is a low-key but high-minded film about a psychoanalytic spider, longing, loss and love. Set against the backdrop of a space mission, it examines the personal reasons why Jakub would leave behind the love of his life for the isolation of space.
“Billy Madison” this ain’t.
In a quiet, heartfelt performance, Sandler plays Jakub as a flawed man, deadened by emotional distress. It is sombre work, with whispered dialogue, longing looks and loads of introspection. He pulls it off, playing off of the goodwill earned from many years of making us laugh, to create a character we have instant empathy for. It’s another notch on his serious actor belt, even if it veers toward dreary for much of the film’s runtime.
Dano brings a whispery HAL 9000 vibe to the wise alien tarantula. He’s an eight-legged psychiatrist; a strange looking companion who knows how to ask the right questions to fire Jakub’s memories. Although the spider looks like something that may have escaped the set of “H.R. Pufnstuf,” Dano gives him real empathy.
As the earthbound Lenka, Mulligan isn’t given that much to do, but effectively displays her character’s deeply rooted, but conflicted, sadness.
As outer-space dramas go, “Spaceman” has more in common with “Solaris” than it does “Star Wars.” It is a slow-moving movie, with very little action—although a broken, on-board toilet threatens to pierce through the movie’s lugubrious tone—that is more concerned with the human condition; Jakub’s childhood trauma, his fear at impending fatherhood, his deep emotional scars.
Director Johan “Chernobyl” Renck does provide moments of great beauty and compassion, but the film’s listless pacing blunts the effectiveness of Jakub’s emotional journey.
“500 Days in the Wild,” a new documentary from director Dianne Whelan now playing in theatres, isn’t exactly “Planes, Trains and Automobiles.” It more like “Hiking, Biking, Paddling, Snowshoeing and Skiing.”
In 2015 British Columbia filmmaker-photographer Whelan was disillusioned, feeling the effects of a recent break-up and worried about the state of the world.
As a way to reconnect with the planet and herself, she undertook the most grueling film shoot of her career, documenting her journey across the 24,000 kilometres, over land and water, of the 487 different trails and multiple waterways that make up the Trans Canada Trail. The longest trail in the world, it connects the Atlantic, Arctic, and Pacific Oceans.
Without a firm schedule—she ripped up her written plan ten days into the journey—Whelan spent much of the next six years completing the trail.
Culled from 800 hours of footage, the new movie showcases the visual poetry of the country—starry nights captured by her camera, the communing with nature, open spaces untouched by modern life—and danger in the form of bears, hypothermia and, at the beginning of the trip, of strangers, like two hunters she encounters on a rainy night.
The film highlights the gorgeous landscapes of the trail, and the challenges of navigating it, but it’s the inner journey that fascinates.
Whelan finds personal serenity through isolation, introspection and intimate moments. What began with disillusionment, ends with a newfound appreciation of the kindness of people, Indigenous beliefs and nature. She emerges changed, but most importantly, without a trace of the cynicism that characterized her mindset at the beginning.
“500 Days in the Wild” captures the expansiveness of the journey with beautiful, often eye-popping photography and contains moments of high drama alongside some lighter sections, but it’s Whelan’s vulnerability and personal journey that illuminates.
“She’s allowed to do this?” “Law & Order Toronto: Criminal Intent” star Kathleen Munroe tells me about how watching Jill Hennessy as Claire Kincaid influenced her decision to pursue acting!
I sit down with Ziggy Marley to chat about the biopic “Bob Marley: One Love,” number one at the box office for two weeks!
The film is the story of how reggae icon Bob Marley overcame adversity, and the journey behind his revolutionary music. It was produced by Marley’s widow Rita, daughter Cedella and son Ziggy. In this interview Ziggy Marley talks about his father as an icon, a father and a musician.
On the Saturday February 24, 2024 edition of The Richard Crouse Show we meet award-winning, former Toronto Star journalist Morgan Campbell. His new memoir “My Fighting Family: Borders and Bloodlines and the Battles That Made Us,” offers a history of his family’s multigenerational battles, a coming-of-age story, and a powerful reckoning with what it means to be Black in Canada when you have strong American roots.
Morgan Campbell joins CBC Sports as our first Senior Contributor after 18 standout years at the Toronto Star. In 2004 he won the National Newspaper Award for “Long Shots,” a serial narrative about a high school basketball team from Scarborough. Later created, hosted and co-produced “Sportonomics,” a weekly video series examining the business of Sport. And he spent his last two years at the Star authoring the Sports Prism initiative, a weekly feature covering the intersection of sports, race, business, politics and culture. Morgan is also a TedX lecturer, and a frequent contributor to several CBC platforms, including the extremely popular and sorely-missed Sports Culture Panel on CBC Radio Q. His work has been featured in the New York Times, the Literary Review of Canada, and the Best Canadian Sports Writing anthology.
Then we meet New York Times bestselling author Nita Prose joins me to talk about her new book, “The Mystery Guest,” it’s a follow-up to her phenomenally successful first The Maid. It follows the adventures of Molly Gray, a maid at the Regency Grand Hotel who launches an investigation of her own into the death of an acclaimed author who died in one of the hotel’s rooms. We’ll learn how a mummified rat was part of the unusual inspiration for this book and much more.
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 Chris Pratt, Elvis Costello, Baz Luhrmann, Martin Freeman, David Cronenberg, Mayim Bialik, The Kids in the Hall and many more!
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I appear on “CTV News at 11:30” with anchor Andria Case to talk about the best movies and television to watch this weekend, including the films “Drive-Away Dolls” from director Erthan Coen, the Hillary Swank film “Ordinary Angels” and the dramedy “Suze”
I appear on “CTV News at 6” with Andria Case to talk about the best movies and television to watch this weekend. I’ll tell you about “The 30th Annual Screen Actors Guild Awards” lived streaming on Netflix, the Prime Video series “Mr. & Mrs. Smith” and the crime drama “Culprits” on Disney+.
After 2021’s “Dune” was relegated to the small screen in the wake of pandemic related theatre closings, this weekend, the long awaited “Dune Part 2” brings the thunder, debuting on screens suitable for the story’s epic scale. The sci fi saga starring, well, almost everyone, in a sprawling cast headed by Timothée Chalamet, Zendaya and the giant sandworms who are literally and figuratively the film’s biggest stars, will play exclusively in theatres.
