Dune – Trailer Reaction

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  • #239687

    https://www.cbr.com/foundation-dune-similar-message/

    Classic sci-fi has reoccurring iconography and themes that resonate throughout the various works. Isaac Asimov’s Foundation Trilogy and Frank Herbert’s Dune are chief among these, introducing philosophical discussions centered around human civilization, our religious ideologies, as well as what keeps society functioning.

    The two are vastly different works, but both have one thing in common: adaptations debuting in 2021. Before Foundation comes to Apple TV+ or Dune hits theaters and HBO Max, you will need a primer on how both works tackle similar subject matter and themes, and how they differ from one another in essential ways. Granted, you won’t be seeing Sandworms in Foundation or two bases at opposite ends of the galaxy preserving history in Dune, but the two works are cut from the same philosophical cloths.

    https://www.cbr.com/foundation-dune-similar-message/

    In both Dune and Foundation, we see the infrastructures that hold civilization up, as well as how these structures can ultimately falter and crumble, given the right pressures.

    With Foundation, Asimov creates an intergalactic empire similar to that of ancient Rome. The central city, Trantor, is a gigantic planet-wide metropolis, holding a massive empire together. However, Hari Seldon, the developer of the theory of psychohistory, predicts that the empire is going to fall. The only way to mitigate the dark age to follow is through specific action. This is the reason why Hari creates the Foundations – two settlements on opposite sides of the galaxy, designed to preserve human culture and civilization. Seldon becomes an almost religious figure, as his predictions increasingly have a greater impact on society as it develops.

    https://www.cbr.com/foundation-dune-similar-message/

    Dune, on the other hand, centers on another intergalactic empire. The plot focuses on the pursuit to control Arrakis, a desert planet where the spice Melange can be mined. The spice is essential for space travel, which keeps the empire from collapsing. The first novel focuses on the battle between House Atreides and House Harkonen over Arrakis, culminating in Paul Atreides gaining control over the spice. From there, Paul triggers a religious fervor that threatens to tear the empire apart from within.

    In both cases, the series centers on civilization teetering on the edge with a figure of key importance standing in the center of it all. In both, the stability of the empire crumbles as separate factors overthrow the status quo. In the later novel God Emperor of Dune, we are introduced to Leto II, Paul’s son turned undying sandworm, whose tyrannical rule gears the Empire into a prosperous future, much like how Hari Seldon managed to gear history to a favorable endpoint in the Foundation series. In this sense, the two works say the same thing: society is unstable and prone to collapse, especially as it increases in size.

    Dune-Graphic-Novel

    However, in other respects, Dune and Foundation are wholly unlike one another. Foundation is a world grounded in logic, whereas Dune is one grounded in large, philosophical ideas. Isaac Asimov is very disinterested in the individual characters of Foundation, choosing instead to focus on how society changes over a broad period of time. Herbert, however, centers his story on specific key figures, developing them as monumental within the culture. We see how normal people are deified by legend and rumor. Paul goes from just the son of a Duke to the cornerstone of a destructive religious movement.

    Foundation instead focuses on the shifting nature of an entire empire over a thousand years, with each segment functioning as a short story that builds the narrative onward. The human element is less important than the broad, sociological ideas. Again, the story boils down to a compelling flow of science, not people being people.

    However, the perspective on empires rising and falling remains very consistent between the two works. In many ways they are the individual author’s perspectives on human civilization. The lasting influence of their works can be traced back to the fact that these works serve as the pure distillation of how the writers applied history to the future. Foundation is inspired by Rome, while Dune was inspired by the spread of religious belief and the infiltration of the Middle East by western forces. All of that resulted in a narrative that resonates due to feeling grounded in familiar reality.

     

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    #239775

     

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    #239919

    itbegins

    #239945

    pauldagger

    I like the daggers call Crysknives. The Fremen and jihadists with their blades. Makes you realize how utilitarian a blade or shank or shiv will always be.

     

     

    #240081

    unnameddunedolby

     

     

    #240595

    https://www.slashfilm.com/595162/dune-review-denis-villeneuve-delivers-on-sensational-and-spiritual-spectacle-venice-2021/

    Ever since “Star Wars” revolutionized mainstream science-fiction cinema, filmmakers have flooded the genre with various iterations on Joseph Campbell’s hero’s journey. This repeatable structure known as the monomyth is practically a default style of storytelling now, so commonplace that perceptive viewers can settle into a comfortable, complacent groove within its auspices. Denis Villeneuve’s “Dune” fits the model to a T yet accomplishes a new feat by restoring the sense of wonder and awe the hero’s journey is meant to inspire.

    “Dune” is technically IP for Warner Bros. given the wealth of material available to adapt from Frank Herbert’s sci-fi novels, but it feels nothing like the boardroom blockbusters littering the landscape today. Villeneuve grants extraordinary breathing room in establishing the quest of Timothée Chalamet’s Paul Atreides, the burgeoning leader of his aristocratic house primed for planetary governance of Arrakis, a land of sand and spice. Two and a half hours sail by, never once weighed down by a large cast of characters or vast array of universe-specific details.

    This patience is either not afforded or not seized by any other director working at this scale. The average shot length of “Dune” must be two or three times longer than the average studio release but never feels leaden in the slightest. Villeneuve grants his audience time to take in the majesty of futuristic architecture, the intricacy of the imaginative costuming, or the complexity of a reaction to rapidly shifting situations.

    Read More: https://www.slashfilm.com/595162/dune-review-denis-villeneuve-delivers-on-sensational-and-spiritual-spectacle-venice-2021/?utm_campaign=clip

    Of course, “Dune” has to plow through some exposition dumps at the outset — that’s only natural given that Herbert’s novel comes with an appended glossary for all the terms he created. But this is ultimately not a barrier to entry given how minimally Villeneuve dwells on the universe’s terms or technology. They would be little more than window dressing if the film did not rest on his strong elemental backbone of monomyth. It’s wholly recognizable yet wholly its own unique phenomenon.

    The minutiae of “Dune” are not an end to themselves, a series of Easter eggs or subtle references meant to tickle the fancy of those already converted. This is not a fan-service film tailored for devotees of this specific journey. Rather, it’s one that can pierce the psyche of anyone with the capacity for inspiration from these stories.

    Looming large among the reasons “Dune” can elicit such grandeur is the fact that Villeneuve, along with his co-screenwriters Jon Spaihts and Eric Roth, do not sand down the obvious messianic elements of Herbert’s book. They never take the audience’s acceptance of the story’s importance for granted, opting to go big with mythology rather than relying on lazy shorthand to have audiences fill in the mental blanks. But they don’t overload the allegory, either, so the overtones don’t distract from the progression of the story itself as Paul prepares for his unexpected ascent.

    Stemming from this mystical throughline, Villeneuve takes an uncommon interest in both the form and function of ceremony and ritual in “Dune,” thus establishing the resonance of this fantastical universe with familiar structures in our own. Yet in embracing Paul’s emergence as a source of omniscience and salvation, they establish genuinely lofty stakes for the film, ones that match the scale of ambition and action on display. Their consequences also feel larger-than-life, not just limited to a studio’s bottom line, and the responsibility of conveying them largely rest on Chalamet’s performance.
    On the Shoulders of Chalamet
    Warner Bros.

    Chalamet’s interpretation of the Paul Atreides character, formally speaking, is miles away from his breakout turn in “Call Me By Your Name.” Unlike that role, where a world of inner turmoil expressed itself through a jittery physical performance, Chalamet is all studied stillness in “Dune.” Yet underneath that placid exterior lies the same amount of chaotic conflict with which a maturing character must grapple. He broods without the blankness of Ryan Gosling in Villeneuve’s last directing gig, “Blade Runner 2049.” It speaks to Chalamet’s extraordinary versatility and range as an actor that he can command the screen when painting with broad strokes of physicality or subtle pointillist emoting.

    There’s even evolution within the movie itself as the shifting sands of power move Paul out of the shadows and into the seat of power. “Dune” grapples with weighty concepts like the proper exercise of political might, the weight of authority, the power of prophecy, as well as the conflict between being both man and messiah. The quiet turmoil of Chalamet’s performance embodies all these tensions as he comes to understand his own position at the center of a vast ensemble. Paul’s coming to terms with the reality that he represents a beacon of hope bright enough to merit the sacrifice of loved ones proves as breathtaking as any visual effects in the film.
    This is Only the Beginning
    Warner Bros.

    And that is saying quite a lot, given that the eye-popping visuals invoke the full sublimity of science-fiction cinema. The effects work of “Dune” thunder with the full bellow of thematic resonance. Everything from the film’s sandworms to spaceships looks and feels unlike anything else put on-screen. Villeneuve cares about their construction long enough to encourage cinematographer Grieg Frasier to linger on them, too, not cutting away quickly to mask mediocre design work. He’s not just invoking the imagination that makes the hero’s journey so compelling. “Dune” manufactures the magic of movies where the dreams can be as big as the screens that display them.

    “This is only the beginning,” remarks Paul with an impish grin as the film closes — part one, as the opening title card states. Bravo to Denis Villeneuve for calling his shot to will a sequel into existence. Part two of “Dune” must happen so he can finish the hero’s journey he started. Audiences deserve to see the conclusion of an action film so immaculately crafted and patiently paced, one that’s more focused on inspiring reverent amazement through the simplicity of durable storytelling structures rather than the complexity of cinematic universe building.

    /Film Rating: 9 out of 10

    Read More: https://www.slashfilm.com/595162/dune-review-denis-villeneuve-delivers-on-sensational-and-spiritual-spectacle-venice-2021/?utm_campaign=clip

     

     

     

    #240596

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    Dune (2021) Filmed For IMAX Extended Featurette | AMC Theatres (HD)
    Secrets of Dune

    #240645

    I still remember the 80’s movie…I remember being bored out of my mind…:|

    I have no desire to see the modern one at all.

    #240661

    Took me multiple books and lots of videos to even get into Dune. It was always boring until it clicks. Now, I am not hooked, but it makes sense and works on so many levels, all the gholas and cymeks and germ-line programs, where family houses will get entire planets for their own.

    Guess the question is, who out there, what director would ever get the chance to challenge Peter Jackson? Is there any director out there who is powerful enough to command back to back to back non-stop filming for an Intellectual Property? Peter Jackson has the championship belt. Will anyone ever be able to challenge him?

    WB Refused To Let Director Shoot Dune 1 & 2 Back To Back
    John Campea

    #240725

    Dune Expected to Make $20 Million in Early Release

    OMB Reviews

    Dune (2021) is getting an early release starting this week is some countries and is expected to make about $20 million from those markets…will this release strategy work?

    Cortex Videos

    DUNE 2021 Baron Harkonnen and Piter scene shown on 28 minutes in France. You can watch the scene here

    #240826

    I saw Dune!! Here is my spoiler-free review!
    Father Roderick
    Here is my spoiler-free review of the movie Dune (2021), recorded right after seeing the premiere at my local theater. Let me know in the comments what you thought!
    Check out my podcasts and other videos on http://www.fatherroderick.com
    Follow me on social media @fatherroderick

    #240909

    Why Dune 2021 is the perfect movie at the right time. In this video essay, I discuss why Denis Villeneuve’s Dune can have a transformative effect on bloackbuster cinema and the world around us.

    #240912

    dunno if it was already posted, but here is the OST:

    Amazing. Can’t wait to watch it.

    #240928

    The Italy Box Office for DUNE on its opening day (Sep 16th) was at 420k€, with a weekend box office projection of 2,05M€ (Wed to Sun). This could be the third-best opening in the pandemic in this region and the second for a foreign movie.

     

    paulmon

     

     

    #240929

    I am one of those Zombies and will go see DUNE. I skipped Captain Marvel and anything that came after. Also, he’s right but the problem is the competition is so bad. The movies aren’t very good anymore, so the superheroes took over the sleaze. That is a good thing.

    Dune Director BLASTS Marvel Movies! Calls Fans “Zombies” Is He Worried About A Flop?
    TheQuartering

Viewing 15 posts - 61 through 75 (of 105 total)
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