this movie was so good i won't leave a nsfw oscar isaac simping review this time

Watched over the course of 3 days because my girlfriend kept falling asleep. Just like my first watch, I find it confusing and too slow for my taste. On the other hand it's also an impressive film with beautiful shots. After today I'll finally know how I really feel about Dune, when I watch part 2. This is a big set-up and I hope it pays off. I initially wasn't gonna watch it in cinemas but since the ratings are so high, I don't want to miss out. But I'm really worried that I won't love Dune 2 as much as most people.

<blockquote>Here I am... Here I remain!</blockquote> The Desertworm scene alone deserves rent. Chani's (Zendaya) screen time was limited but her presence was Massive!

Watching my favourite novel become live-action movies directed by a legend like Denis Villeneuve is a dream come true for me !! Denis took his time to introduce us to the world of House Atreides, Harrkonens, The Imperium, The Fremen, the emotions of Duke Leto, Paul, Lady Jessica, Duncan Idaho. He made it easy for everyone to understand this complicated world. With on-point engaging screenplay, stellar performances, breathtaking visuals, outstanding BGM, Dune Part 1 is an absolute masterpiece. Part 2 will see Paul become a man, the Mu'adDib, a fremen and we'll see his revenge against the Harkonnens and the Imperium. As someone who loves this novel, i can guarantee that DUNE 2 will be a bonafide MASTERPIECE in every aspect of filmmaking and i can't wait for it, it deserves to be made !! P.S - I love Timothée Chalamet as an actor and he's the best Paul we could've asked for.

Getting ready for a masterpiece!

[7.7/10] *Dune* is gorgeous to look at. It’s a tribute to the beauty of desert cinematography. The set design is magnificent. The costumes are at once familiar and alien. The technology of this world is striking and distinctive, with a tactile sense of utility and elegance. The use of lighting is superb, washing the players in dim hues within walls or bathing them in the desert sun outside of them. The effects feel vivid and visceral, with gargantuan ships, flitting transports, and towering worms with sand-shifting vibrations and gaping maws. In terms of pure aesthetic and mood, it is a triumph. But it’s also an emotionally sterile film. I don’t feel much, if anything for these characters. Not the chosen one wrestling with prophetic dreams and the weight of expectation. Not the wary mother hopeful for her child’s future but afraid of what it may hold. Not the friends and allies who risk and ultimately give their lives to protect them. *Dune: Part One* is not without its high volume emotional moments. Lady Jessica strains to steel herself while her son undergoes a torturous test. Paul screams at his mother in the throes of particularly harrowing vision. Heroes die in thundering blazes of glory. And yet, there’s a strange sense of detachment, in the sense that these are archetypes or larger than life figures, rather than real people. Their interactions are thumbnail sketches rather than intimate attachments. As beautiful a world as director Dennis Villenueve and company craft for the screen, the players who populate it don’t resonate. The one exception is Oscar Isaac as Duke Leto Atreides, the protagonist’s father, who imbues his scenes with warmth and grace. Maybe it’s because his is the inevitable, motivating mentor’s death in the film, so he needs some development now that others can reserve for *Part Two*. Maybe it’s simply Isaac’s skills as an actor. Maybe it’s because Leto is a kind man in a world full of cruelty. Maybe it’s because he and his son talk to one another like human beings, sharing concerns and reassurance and love in a way that’s scant elsewhere in the film. Whatever the reason, his life and death carries an interiority and tragedy that’s hard to feel elsewhere. But maybe that's simply because this sort of story is overfamiliar in the half-century plus since Frank Herbert first wrote his famous and influential novel. We’ve all seen beaucoup versions of the Chosen One. We’ve seen the hero with prophetic dreams of the future. We’ve seen the young champion coming into his magical powers.We’ve seen the evil empire full of dastards trying to butcher the noble and resilient little guys. We’ve seen warring houses jockeying for wealth and power. We’ve seen the Western hero bond with the indigenous peoples. There’s nothing wrong with these tropes. Reinterpretation is the heart of storytelling. And it’s neither Herbert’s nor Villenueve’s fault that a raft of books and films and television shows have followed in *Dune*’s vaunted worm tracks. But it does mean these beats don’t have the impact they might when they were fresh. The same goes for the sense in which they’re realized on the silver screen. Even setting aside prior adaptations, It’s no coincidence that George Lucas’ desert iconography in the original *Star Wars* bears a striking resemblance to the modern take on similar concepts here, given the plain influence of Herbert’s work on the then-young filmmaker. *Game of Thrones* gave us grand houses plotting against one another through a layer of prestige gloss. Everything from *Starship Troopers* to *Halo* has given us armored up space troopers vaulting through the cosmos and marauding through varied terrain. Once more, it’s nobody’s fault that imagery which was once groundbreaking has now become standardized. The normalization is a strange sign of success, with decades of followers mining the work of Herbert and his contemporaries for inspiration. But it mutes the impact of this latter day, big budget realization of ideas and images that influenced legions of other creatives. Despite that, *Dune: Part One* evokes a remarkable atmosphere and sense of place that carries it beyond what might now be considered stock elements. One of the benefits of adapting a longstanding, famously intricate book is that it’s easier to suggest the presence of a world that extends beyond the story. The details have already been considered, and so Villenueve and his team can gesture toward a wider world that we only get glimpses of, while still conveying the sense that it’s robust and interconnected. This world makes sense, and tantalizes you with things mentioned but unseen. The visuals are stunning. The nighttime attack that blazes the sky in the kinetic midpoint of the film is practically riddled with jaw-dropping imagery. The ghoulish Baron Harkonnen is grotesque in the best way, floating menacingly above, draping his fingers across his bald head like Colonel Kurts or retreating into the inky black of a healing bath. The skittering dragonfly vessels evoke the distinctive designs of this time and place, which extends from towering ships to tiny handheld tools. As played out as wispy dreams of what is yet to come are, Villenueve retains his ability to construct affecting montages deployed so well in *Arrival*. The visions of fire and blood and friendship and betrayal are, at times, murky in that traditional artsy way. But they also appeal to an instinctual part of the human mind that cannot help but be drawn to the rush of sound and color. For all *Dune: Part One*’s inability to evoke character, it expertly creates a sense of scale, of mood, of an emotional atmosphere that permeates the film even if it can’t quite penetrate its players. There’s a narrative shagginess here, born somewhat of the fact that this is half a story, where climax and catharsis must wait until 2023 to find purchase here. And there’s a certain sterility to how the main figures move through it all to reach that cinematic ellipses. But the vibe and atmosphere at play are worth sticking around to see where *Dune* will take us next. There is more to the cinema than aesthetics. The tale told and the people who live it are the lifeblood of storytelling for the screen, no matter the medium. And still, the imagery alone can transport us, take us into a place or an experience and hold us there, even as we cast about for someone to latch onto.

I gave it 7 for the first viewing because I was expecting something more fast paced but upgraded it to 8 now that I watched it for what it is. Could've been more but it's just part one so 8 is pretty good. Great world building and characters. Fantastic visuals and most importantly, a compelling story with great performances. Personally, I don't need all action or twists. What sells a movie to me is acting plus a coherent story.. everything else is a bonus.

Хороший первый акт. Актёры, масштаб, эффекты на высоте. Но как отдельный фильм он далеко не полноценен.

my type

Dry as sand

aside from having to pause 3 billion times at the start to remember who was who, this was a good watch

I was <b>STRUGGLING</b>. I do not care about these characters at all. And I've loved the previous movies this director has done, so maybe it's just the source material? The cinematography, special effects, set design was all cool but the actual plot and characters just felt bland and uninteresting. I bought the movie and I <i>still</i> gave up on it about 2 hours in.

lamento, denis é meu pai. tudo que ele faz é perfeito

Le film est mieux que celui de David Lynch, et c’est normal. Déjà, un défaut qui m’avait vraiment dérangé c’était qu’on avait peu d’explications sur certains prénoms/choses pas clairement expliquées dans le film de 84. Ici, c’est mieux montré/raconté, le film prend son temps (et on le voit bien : on a un deuxième film et bientôt un troisième). Bien sûr les décors sont plus travaillés, par exemple la maison du barron : elle est beaucoup plus sombre montrant un cadre menaçant/froid, tandis que le film de Lynch optait pour un décor vert (couleur de morbidité cf Fanon 👀) mais surtout très clairs donc pas très intimidants. Pour finir, les effets spéciaux sont meilleurs mais c’est logique. Bref, c’était vraiment cool, hâte de regarder la suite !

Un film davvero figo. L'hanno diviso bene in parti secondo me. Mia supposizione, secondo me la prima parte serve come introduzione, nella seconda si approfondisce di più la parte con la tribù di Zendaya, mentre nella terza ci sarà la guerra santa della sua visione. Magari mi sbaglio perché devo ancora vedere la parte 2 e la parte 3 non è nemmeno uscita

o filme é muito devagar mais é bafonerico, amei o babado todo

Filmasso!!!! Amei cada segundo, espero anciosamente pela parte 2 🤩

Visuellement incroyable, mythologiquement fascinant, c'est un fait : Le "Dune" de Denis Villeneuve est une incontestable réussite cinématographique. Un film qui marque vraiment les esprits et dont la magistrale bande originale de Hans Zimmer raisonne encore après la séance. Pourtant je n'attendais pas du tout la sortie de cette œuvre. Je ne comptais même pas aller le voir. Mais la promotion nous l'a tellement bien vendu que j'ai finalement décidé d'aller le découvrir en salle le jour même de sa sortie. Et j'ai donc était agréablement surpris par le spectacle proposé. L'intrigue politique, aux premiers abords complexe, passe finalement comme du beurre et nous permet d'admirer l'oeuvre sans trop se casser la tête. Pour un livre prétendument difficilement adaptable c'est un point important à relever. Le tout servi par un casting de luxe... Même pour les seconds rôles. Et donc... Visuellement... C'est incroyable. Les décors sont somptueux et la mise en scène à la hauteur de l'événement que soulève le film. Ce qui rends la planète Arrakis vraiment splendide. Mon seul regret c'est de devoir attendre la suite qui devrait se dessiner si le public est au rendez vous de cette magnifique introduction. Bref, Denis Villeneuve c'est le genre de mec qui adore le septième art et qui le lui rends si bien car "Dune" c'est le genre de film qui nous rappelle pourquoi nous aimons le cinéma et pourquoi il est si important de le vivre dans les salles obscures.

I can't wait for part two

Amazing film in all aspects. Timothee Chalamet 😍😍😍🔥🔥🔥🔥💦💦💦💦💦