#Dune film review

[nighttime-thoughts]

Whatever happens tomorrow we've had today.

[rebeccalouisaferguson]

REVIEW ROUND UP OF DUNE: PART TWO

"Ferguson delivers another beguilingly sinister turn as Jessica, arguably the most fascinating character in the whole film..." https://www.dexerto.com/tv-movies/dune-2-review-2541695/

"Rebecca Ferguson adds a hint of malevolence to the gravitas she brought to the first movie, continuing her role as Atreides’ mother and champion." https://www.avclub.com/dune-2-review-visually-ravishing-storytelling-1851274494

"Butler remains the flashier villain, but Rebecca Furgeson proves to be the film’s horrific star. Seamlessly transitioning from conscientious mother to cunning priestess, she wanders through the film continuously plotting with her pregnant belly. The mere flick of her eyes is enough to show not only dangerous instability, but the frightening calculations behind the power she’s amassing." https://femaleantagonist.com/dune-part-two-leads-a-burgeoning-franchise-into-paradise/

"Zendaya and Ferguson steal the show, providing polar opposite figures in his development. Ferguson must chart a course from a physical and emotional threat to a large-scale schemer. The character transformation comes after drinking a substance, but watching her mental evolution is something to behold." https://sunshinestatecineplex.com/2024/02/21/dune-part-two-2024/

 "...it may be Rebecca Ferguson who gives the most villainous performance. Ferguson commits to making your blood boil as Lady Jessica corrupts her own son, leaving no question as to who the most vile character is." https://discussingfilm.net/2024/02/21/dune-part-two-review-denis-villeneuves-daring-epic-is-unlike-anything-weve-seen/

"Ferguson eats up every morsel of her rejuvenated, meaty role." https://freshfiction.tv/dune-part-two-review-denis-villeneuves-monumental-masterpiece/

"Chalamet and Ferguson take all that was regal and dignified about their performances, and apply to them a poisoned tip." https://www.independent.co.uk/arts-entertainment/films/reviews/dune-part-two-review-zendaya-timothee-chalamet-b2499855.html

"The rest of the cast is fine and engaged, with Rebecca Ferguson playing complex notes as a wannabe mother-of-God..."https://scottmendelson.substack.com/p/review-dune-part-two-is-an-audiovisual

"Ferguson, her face tattooed throughout much of the movie, leans into an arresting menace." https://www.latimes.com/entertainment-arts/movies/story/2024-02-21/dune-part-2-review-timothee-chalamet-zendaya-austin-butler-denis-villeneuve

"Chalamet and Ferguson’s performances are strongest when mother and son tussle about the right thing to do. Through these arguments, Chalamet sheds the boyish innocence of the first film for a darker, more complicated persona. Ferguson’s character also enters more morally ambiguous terrain when she is asked by the Fremen to become the group’s Reverend Mother." https://www.hollywoodreporter.com/movies/movie-reviews/dune-part-two-review-timothee-chalamet-zendaya-1235830061/

"...but it’s Ferguson’s slippery performance and Bardem’s playful one that really add flavors here that weren’t in the first outing." https://www.rogerebert.com/reviews/dune-part-two-movie-review-2024

"Ferguson’s Lady Jessica rises to become a gripping “Dune” persona, who goes from being extremely dry in the first film to an intriguingly determined figure in “Part Two.”https://eu.usatoday.com/story/entertainment/movies/2024/02/21/dune-2-movie-review/72654598007/

"Even Rebecca Ferguson, who bristles early on in this film when it comes to her exact role in this story, blossoms into a bonafide force of Reverend Mother nature that does well to capitalize on her ability to mix vulnerability with savage confidence. Pretty much how I always envisioned Mother Mary, myself." https://inbetweendrafts.com/dune-part-two-review/

"Ultimately, it's Lady Jessica and Feyd-Rautha that reveal the true terror of unfettered belief. Watching Rebecca Ferguson stride through the Fremen's desert hideaway as she whispers to her fetus could easily fall into caricature if it weren't so chilling."https://screenrant.com/dune-part-2-movie-review/

"...this is an undoubted success, and is powered a clutch of lead performances – Chalamet, Zendaya and Rebecca Ferguson as a newly-ordained Bene Gesserit reverend mother at the shining core of the ensemble..." https://lwlies.com/reviews/dune-part-two/

[agentnico]

Dune: Part Two (2024) review

I’m fully aware that the Dune sequel has been hit by acclaim from both critics and audiences, and I shall share my own thoughts in due course, but also whilst presenting itself as a serious and sophisticated piece of artsy science fiction tackling challenging themes of religion and politics, from a marketing standpoint this film has been a major farcical meme. From the popcorn buckets shaped like suggestive sand worms (or more so accurately as deformed buttholes) to the viral TikTok video of an unnamed man riding a makeshift sand worm around a cinema lobby on his way to Arrakis, or more likely to one of the gazillion screenings of Dune: Part Two. But yes, absolutely mad bonkers advertising techniques, and not at all reflective of how seriously and straight faced the actual film plays. Anyway, let’s talk Duuuuuuuuuuuuuuuneee…..

Plot: Paul Atreides unites with Chani and the Fremen while seeking revenge against the conspirators who destroyed his family. Facing a choice between the love of his life and the fate of the universe, he must prevent a terrible future only he can foresee.

Controversial opinion - I was not a fan of the first Dune. I thought it was all spectacle and no substance, and even then in regards to said spectacle, it was just sand. Lots of sand and bland dark visuals. I understand that the first movie acts as a massive exposition piece with lots of world building and introductions of all the characters and various political families and the spice trade and all that sweet jazz, but honestly it all felt so dragged out. Also a lot of narrative choices felt really immature and I did not buy it. In fact, the only memorable part for me was that female voice screaming on the music score every time something crazy happened, and my does that woman have some strong vocal pipe work! Like damn, her screams…. I really felt them!

Going into Dune: Part Two, I was very much of two mindsets. One was more so a feeling of obligation to watch it, as I wasted 3 hours of my life watching the first one that I felt I deserved some kind of closure for my efforts. The other being Denis Villeneuve. Aside from the first Dune, he’s a director that has constantly impressed me with his unique vision and style. Simply look at his past filmography! Prisoners. Enemy. Arrival. Sicario. All impressive pieces of genre filmmaking. Then there’s Blade Runner 2049, that took the classic Ridley Scott movie and managed to improve on it and become one of the most thrilling science fiction epics of the last decade. Also the trailers looked appropriately exciting, and it seemed like the second movie was actually gonna deal with some serious shit finally. Again, my problem with the first Dune wasn’t that it was slow. I mean, I can happily watch Paris, Texas any day of the week and be mesmerised by the empty yet beautiful takes of the American desert. It’s more-so that the first Dune felt aimless and messy. As for Dune: Part Two?

Well, if we’re going to use The Lord of the Rings terminology, and boy am I happy to refer to the dear-to-my-heart Middle Earth whenever I have the chance, then Dune: Part Two holds the scale of The Two Towers. I may not agree with all of it, and there are still some moments that drag, though The Two Towers is also guilty of that - I’m looking at you Treebeard! But overall this is one hell of a cinematic experience and achievement. Visually for one this is eye-candy. And yes, yet again there’s lots of sand, but this time around Villeneuve manages to find very creative ways to add/take away colour to make many sequences truly impressive. There’s an early scene where the Fremen are fighting Harkonnen goons in the desert and the entire thing is seeped in this blood orange palette, reminiscent of the Martian Chronicles, and then there’s the part where we are introduced to the Harkonnen home planet where the entire screen is drenched in hardcore intense black-and-white due to their sun only giving out white and black light, and instead of fireworks there are these watercolour stroked exploding in the sky, to of course the much talked about eye-dropping sand worm riding into battle scene that had the feel of the giant elephants appearing in The Return of the King, and yes that was another most delightful reference to Lord of the Rings! As I was saying though, the entire movie visually is certainly something to be in awe of.

Also Hans Zimmer’s score!! Of course the man’s a genius, having composed so many of cinema’s greatest musical compositions. I can recommend his Live in Prague performance! Hit after hit, and I find myself spinning it on my record player a good few times. Hans Zimmer’s Dune: Part Two soundtrack feels like a thunderously bombastic continuation and expansion of the first film’s more quiet and moody opener, and that shift in tone allows for some truly spectacular weaving of the composer’s thematic tapestry for Dune – with the finest new thread being the absolutely gorgeous love theme for Paul and Chani. A truly beautiful piece that echoes the heartbreaking tragic nature of the central romance of the film. Needless to say I’ve already pre-ordered the limited edition coloured vinyl of Dune 2’s soundtrack from Mutant (the new Mondo).

As for the narrative, as that is where I felt the first film faltered the most in my humble opinion (which I share so publicly online). I really do feel like the sequel is a major set up, for since the first one focused more on the endless word building and set-ups, this movie is all about the character developments. The scope is still big with the various political and religious elements that are tackled and explored throughout, however at the same time Dune: Part Two manages to feel more intimate compared to its predecessor, with the unravelling of the romance between Paul and Chani, but more so the inner struggles of Paul Atreides, as he tries to balance his emotions of revenge with the feeling of wanting to belong somewhere, as well as his denial of being called the so-called Messiah to the Fremen people. Look, the idea of the chosen one has been a concept that has been done over and over again, however I felt here they managed to really make it feel unique and different, with Paul choosing not to take this major responsibility due to visions of the future where he sees this choice result in darkness and dread, yet at the same time realising he has no choice but to follow his destiny and calling. It’s powerful stuff.

The cast list is stacked in this one. Timothee Chalamet is a rising star, having previously excelled his dramatic chops in Call Me by Your Name and his charismatic whimsy in last year’s Wonka, but this is by far his most impressive acting feat. You truly feel his character turning from boy to man, and it’s a real and raw performance. Zendaya shares great chemistry with him, but also in her own right gives a strong turn as a warrior Fremen conflicted with what she sees and thinks. Javier Bardem’s Stilgar adds a slice of surprising humour to the mix, being so obsessed with Paul being part of the prophecy that anything he’d do, Stilgar would find that to be part of what has been foretold. Paul Atreides could literally fart and Stilgar would observe in wonder proclaiming “as it was written”. There’s also a tiny No Country for Old Men reunion with Bardem being joined by Josh Brolin, who’s alright by the way, though it’s a typical Brolin brute role. Charlotte Rampling as the Reverend Mother continues being truly despicable and honestly that wench deserves to be put in her place - the movie’s ending is very satisfying in this regard. There’s also some newcomers to the Dune world too. Florence Pugh as the Princess reminded me a lot of Padme from Star Wars, and Christopher Walken I felt was tad miscast as the Emperor. Don’t get me wrong, Walken is a great actor, but his way of speech has been impersonated and overdone so many times that it is difficult to take him seriously in a role like this. Minus a couple of strong deliveries Walken felt really lazy here. You know who wasn’t lazy though? Austin Butler! This guy understood the assignment, playing the psychotic nutter Feyd-Rautha and he’s truly unrecognisable. Even his voice is different. Gone is Elvis and in cometh his Skarsgard impression! He’s brutal and maniacal and was honestly superb, and I wish there was more of him in this movie.

Again, it’s far from a perfect movie. There are parts still that drag, and certain times where things feel surprisingly rushed, but overall this is an experience through and through, and unlike my feelings after the first film, here I find myself really looking forward to the inevitable third part. In fact f*ck it, who am I kidding - this movie is bloody incredible!! Like I can’t even - it’s abso-fricking-lutely spectacular!! And by the way I read a bit about the Frank Herbert Dune books now and the future sequels are gonna be mad, just saying. Paul’s son becomes this half-man half-worm known as the God Emperor! Things are gonna get weird! Anyway, Dune: Part Two - go see it if you haven’t already. And in Austin Butler’s voice: “may thy knife chip and shatter”.

Overall score: 9/10

[dailyanarchistposts]

X: Dune On Your Luck

Frank Herbert and his wife Beverly settled on six acres on the rural outskirts of Port Townsend, perched on the north-eastern tip of the Olympic Peninsula. While living in the old farmhouse, they built a three level A-frame, and at the top of the A was Frank’s new office, evocative of the massive structure from which Alia looks down at her subjects in Children of Dune. Not only did he write this novel here, he began planning to turn the land into an Ecological Demonstration Project, a place where he could establish a nearly self-sufficient farm and test the practicality of alternative energy sources, such as power from wind, sun, hydrogen and methane.

While living on this farm, Frank wrote his Circle Times, a novel about the history and wars of the Coast Salish peoples. Despite his immense fame, no one wanted to publish it, and when he finally sold the rights to a television studio, they scrapped everything when Frank was trying to remain too true to historical facts, at the expense of drama. Later, having already sold off the film rights to Dune, the producer organizing the whole thing suddenly died, leaving the project in limbo. It was around this time that Frank really plunged into finishing Children of Dune, just as he also brought his mother Babe up to live with him.

Frank Sr. had died in 1968, and Babe had been living in a trailer in Vader, Washington before coming to live full-time in Port Townsend. When people came looking for the famous author in town, the locals pretended not to know where he lived, protected his family’s privacy, and the couple lived in peace with Babe until a fateful day in 1974 when Beverly collapsed and had to be flown across the sea to Seattle. When the doctors finished treating and examining her, the diagnosis was lung cancer, and as her son Brian recalled, two daily packs of Lucky Strikes, a brand having extremely high quantities of tar, nicotine and carbon monoxide, had taken their toll.

Frank centered his life around Beverly, and money became even more precious, so it was with some relief that a French production company decided to film Dune, with the project to be directed by Alejandro Jodorowsky, creator of El Topo and The Holy Mountain. All this brought some money to Frank and Beverly, who was recovering after radiation treatments and became healthy enough to go to Europe with Frank in 1975. Shortly after they returned, the serialized publication of Children of Dune began in Analog magazine, with the entire print run selling out across the US. In the midst of this good news, Beverly relapsed again because of a medication imbalance, but she soon stabilized.

With the sales of Analog as proof, Frank’s editor at Putnam convinced the suits in the skyscraper to print 75,000 hardcover copies of Children of Dune rather than 7,500. This was a first in science-fiction history, and when the third Dune book was released it became a best-seller, requiring the printing of another 50,000 within a few months. Riding high on this windfall, Frank and Beverly went to Paris to check in on Alejandro Jodorowsky, only to find his script would requite a fourteen-hour film, and he had already spent $2 million of the $9.5 million budget. However, when they got back, old time Italian producer Dino De Laurentis offered to buy the rights from the French, and Frank agreed, even being offered the chance to write the script.

Now he and Beverly had lots of money, so Frank took some of the Italian cash and bought a sailboat which he named Ghanima, the daughter of Paul and Chani. With their lives more stable, Frank continued onward with his Ecological Demonstration Project, and created a solar-heat collection system to warm his house. The panels were sandwiches of plywood, thermopane glass, aluminum beer cans, and fiber-glass insulation. This system was enough to heat their house through most of the year, but that was the bulk of the Ecological Demonstration Project, given Frank had too much on his plate. Money was always needed, so he kept writing, and when Star Wars came out in 1977, he was livid at seeing his Dune mercilessly pillaged.

That same year, Bruce came up to Port Townsend for a visit and finally confided in his brother Brian that he was gay. Beyond this, he felt part of his being gay had to with the way their father treated them. As he told Brian, after seeing how Dad treated children, I didn’t want to have any. Like a good brother, Brian kept this confidential, and Bruce soon returned to San Francisco where he made a living fixing and maintaining the instruments of rock and roll bands. Bruce later became involved with Act Up when the AIDS epidemic hit San Francisco, and he lived through one of the darkest times in San Francisco, hardly ever going up north to see his parents.

Meanwhile, his father teamed up with a poet he met in Port Townsend named Bill Ransom and together they started a novel called The Jesus Incident, set on the mostly water world of Pandora. Because it used part of an earlier copy-written story, Frank and Bill had to completely rewrite the story and were unhappy with the results. Nevertheless, The Jesus Incident is far more fluid than Dune, the politics clearer, the ecological themes more pronounced. This burst of money, along with a renewal of the film rights from Italy, allowed Frank and Beverly to begin considering more options, and eventually they decided to move to Hawaii, given they didn’t know how long she’d be around.

In late 1979, Frank began writing what would become God Emperor of Dune, which is possibly the most famous, given the main character Leto II is now a giant sandworm. With the assurance of more money on the horizon, they began construction of a house in Kowloa and during a visit there Bruce turned up, although his mom kept pestering him about getting married. As it turned out, Beverly Herbert was a fan of Ronald Reagan, while Frank Herbert wasn’t, knowing him to be a liar.

As mentioned, Bruce stayed away from Port Townsend in this time period when his father was writing God Emperor of Dune, a chronicle of the tyranny of Leto II, the half-human, half-sandworm Emperor of the galaxy, whose reign is so cruel it eventually causes an event called the Scattering, an exodus of humans into the furthest reaches, something planned for by Leto II. One can’t help but see the flight of Bruce in this Scattering, only rather than the tyrant worm Leto II, he was fleeing the tyrant Frank Herbert. A lot to think about there, assuredly.

In 1980, the famed actor Robert Redford contacted Frank hoping to acquire the film rights to Soul Catcher, and that summer the two had a secret meeting in Port Townsend. While Frank and Beverley were settling into Kowloa, it turned out that Ridley Scott, the director slotted for the Italian produced Dune, had to back out to film Blade Runner, so the film project returned to limbo. Nevertheless, the Herberts were fine in Hawaii, and the new house was solely for Beverly.

It was when they were in Hawaii that Bruce informed his parents he was gay, and according to his brother Brian, they were not at all pleased by this information. From this moment onward, Bruce had little contact with his parents and seems to have never seen Frank again. Meanwhile, the fourth in the Dune series, God Emperor of Dune, had just been released, becoming an instant best-seller, #4 on the New York Times hardcover best-seller list, and a director was finally found for the Dune film, thirty-five year-old David Lynch. Before the first print runs of God Emperor even sold out, Frank was already signing a deal for the fifth volume, Heretics of Dune. Again, all of this money went into making Beverly happy in her last days.

Frank Herbert liked the screenplay David Lynch wrote for Dune, even with all the embellishments, and soon Frank met up with poet Bill Ransom to write a sequel to The Jesus Incident, a novel called the Lazarus Effect, although Bill did most of the writing, given Frank had to be with Beverly. All the while, God Emperor of Dune remained on the hardcover bestseller list throughout 1982, with the publishers milking every last drop of spice before allowing a paperback edition, which wasn’t issued until 1983. Meantime, work on David Lynch’s Dune continued to progress, with Frank enthusiastic about what he saw, and by the summer of 1983, he was paid an insanely large amount of money for the sixth volume of the Dune series, even though Heretics of Dune hadn’t yet been released.

This final volume was titled Chapterhouse: Dune, a title suggested by Beverly, and Frank soon began writing it. After the deal with Robert Redford to make a Soul Catcher film fell through, Frank was approached by Paul Newman and Warner Brothers with a similar deal. However, despite all the big names involved, this film never got off the ground. All of these matters were suddenly dwarfed that fall of 1983 when Beverly suddenly took a turn for the worst. According to Brian Herbert, when his brother Bruce tried to figure out a good time to come visit his dying mother, Frank was delaying in giving him a time that would be convenient. My brother wondered, but did not say so to Dad, if this had anything to do with his homosexuality, which our father had never accepted. Beverly Herbert died on February 7, 1984, and she never saw her youngest son again.

[heywoodsays]

Top 10 Films of 2024

I’ve written before on how silly the exercise of coming up with an annual “top ten films�� list always is. And yet, the tradition continues. One of the things I take away from the experience is the opportunity to parse through the dozens of movies I’ve watched in the past year and try to identify what exactly makes some movies speak to me more than others.

I found that especially challenging this year — not because there were so many remarkable films, or too few worth considering. But other than a few genuine standouts (4.5 to 5 stars), I thought there were so many solid films that I thoroughly enjoyed (4 stars), it was difficult to sift through them to decide “which was better.” In a sense, coming up with a top 20 was easy, but arriving at a top 10 was not.

I have, at times, tried very hard to distinguish between the concepts of “best films” and “favorite films,” but I’ve learned that such a distinction is murky at best. Our personal biases, preferences, life experiences, and so on play an indubitable role in our appreciation of a movie. For most people, those elements probably hold more weight than the various cinematic skills used to bring those stories to life.

But for those of us who have taken a more immersive approach, the trick lies in finding the appropriate balance.

There are films on my list this year that by no means rival the cinematic achievements of films not on the list, in either technique or narrative. And I must admit that some longstanding genre biases I may hold may have prevented me from fully enjoying some of the year’s most interesting work. (Spoiler alert: The Substance didn’t make my list.)

What matters most to me, though, is that ten years from now, I’ll be able to look at this list and remember who I was with respect to the world around me — what inspired me; what brought me to tears; what made my heart smile; what advanced my love for the movies.

I hope everyone had that experience with a few movies this year. Here are the ones that top my list for 2024.

T10. Dìdi

Dir: Sean Wang

I swear this isn’t cheating, but I’ve selected two movies for my #10 slot as both are coming-of-age stories with vastly different approaches but similar affects (yes, with an ‘a’).

In Sean Wang’s Dìdi, we meet 13-year-old Chris, a second-generation Taiwanese American, in the summer of 2008. We journey with Chris (called “Dìdi” by his grandmother) over the weeks leading up to the start of high school as he struggles with the absence of his father, his strained relationship with his mother, internalized racism, first love, belonging, and — that most heart-wrenching of dilemmas — when your best friend demotes you from their MySpace “Top 8.”

Perhaps this resonates so strongly with me as the son of a single immigrant mother, but I find Dìdi to be authentic and warm without wallowing in sentimentality. Wang offers us relatable, vulnerable characters who we can’t help but root for, despite their flaws.

Rotten Tomatoes: 96%

IMDb: 7.3/10

Letterboxd: 4.0/5

Metacritic: 78/100

Where to watch: Streaming now on Prime Video

T10. Young Hearts

Dir: Anthony Schatteman

On surface level, there’s nothing particularly groundbreaking about the Belgian film Young Hearts; it might resemble any other teen romance. But Young Hearts just does it better. The young actors approach the subject matter with maturity and deliver powerful performances. Young Hearts inadvertently follows a lineage of recent movies exploring LGBTQ+ themes in early adolescence, namely 2023’s Monster and 2022’s Close — Best International Feature Oscar nominee and my #1 pick that year. (Lukas Dhont, who wrote and directed Close, co-wrote the script for Young Hearts with Schatteman.)

Young Hearts doesn’t quite match either of its predecessors in cinematic achievement. But while the other films lean in heavily on the tragedy that accompanies navigating complex emotions and relationships, Young Hearts focuses on the joy, which makes it just as important, if not more so. It’s exactly the kind of film I wish I could have seen when I was growing up.

IMDb: 8.1/10

Letterboxd: 4.0/5

Where to watch: Coming to US theaters March 14

9. No Other Land

Dir: Yuval Abraham, Basel Adra, Hamdan Ballal

A front-runner for this year’s Documentary Feature Oscar, No Other Land tells the story of Palestinian activist Basel Adra, as he persists in his struggle to save his small village in the West Bank from forced displacement by Israeli forces. He is joined by Yuval, an aspiring Israeli journalist sympathetic to Basel’s cause. We painstakingly observe how the system works against them to bring them down at every point. We are both inspired and perplexed by their resilience, as when Israeli police imprison Basel’s father as leverage or the media paint Yuval as a traitor to his own people. But mostly, we are moved — saddened and angered by the callousness and injustice of it all.

Rotten Tomatoes: 100%

IMDb: 8.3/10

Letterboxd: 4.5/5

Metacritic: 93/100

Where to watch: In theaters now

8. หลานม่า (How to Make Millions Before Grandma Dies)

Dir: Pat Boonnitipat

How to Make Millions Before Grandma Dies is classic storytelling with a moral, but with a distinctly modern take. The film’s poignant themes touch on universal truths regarding love, family, and money, while addressing cultural matters, like ageism and gender dynamics within Sino-Thai culture. But at the heart of the film is its meaningful message, highlighted by the stellar performances of newcomers Putthipong Assaratanakul and (especially) Usha Seamkhum, who makes her film debut at age 78. With its harmonious blend of humor and pathos, How to Make Millions Before Grandma Dies is one of the year’s most charming films.

Rotten Tomatoes: 98%

IMDb: 8.0/10

Letterboxd: 4.3/5

Metacritic: 74/100

Where to watch: Rent or buy on Amazon or Apple TV

7. Ainda Estou Aqui (I’m Still Here)

Dir: Walter Salles

I’m Still Here recounts the true story of the disappearance of Ruben Paiva, a former Brazilian politician turned dissident, and the resilience of his family during the ensuing years of hardship and uncertainty. The story focuses mainly on his wife, Eunice, portrayed by Fernanda Torres in one of the year’s best performances. While the filmmaking itself is exceptional, I’m Still Here is made more compelling by the current relevance of its narrative — the importance of resisting oppressive regimes and seeking the truth, regardless of how long it takes or how dark things seem.

Rotten Tomatoes: 97%

IMDb: 8.7/10

Letterboxd: 4.3/5

Metacritic: 85/100

Where to watch: In theaters now

6. All We Imagine as Light

Dir: Payal Kapadia

There were few film characters I cared more about this year than Prabha and Anu, the Indian nurses who feature at the center of All We Imagine as Light. The film paints a vivid picture of life in Mumbai through the eyes of women who face various challenges due to societal norms — a husband from an arranged marriage working half a world away; a Muslim boyfriend sure to be reviled and rejected by Hindu parents; a widow losing her home because her name doesn’t appear on any of the documents. Despite its incredible cinematography and beautiful imagery, there is nothing flashy about this film. It is intimate, subtle, and contemplative.

Rotten Tomatoes: 100%

IMDb: 7.1/10

Letterboxd: 3.9/5

Metacritic: 93/100

Where to watch: Rent or buy on Prime Video or Apple TV

5. Wicked

Dir: Jon M. Chu

No, this is not just because I’m a former musical theater kid. Wicked isn’t even close to my favorite musical and I’m typically very skeptical of film adaptions of popular musicals, which I think seldom do them justice. But Wicked succeeds where others have failed. It is surprisingly cinematic — grand and enthralling, excelling on every technical level. Cynthia Erivo and Ariana Grande give A+ performances and the film really rests on their shoulders. Wicked perfectly balances paying enough tribute to fans of the stage show who have high expectations with crafting a version fit for the silver screen. I did not expect to leave the theater thinking, “This is one of the best movies of the year.” But I did.

Rotten Tomatoes: 88%

IMDb: 7.6/10

Letterboxd: 3.9/5

Metacritic: 73/100

Where to watch: Streaming on Peacock, starting March 21

4. Nickel Boys

Dir: RaMell Ross

Nickel Boys is simultaneously the most harrowing film of 2024 and the most groundbreaking. RaMell Ross’s decision to use a first-person perspective to tell the story of two young boys’ experience at a Tallahassee reform school in the 1960s allows us to feel everything more deeply — the deep bond of friendship, the harsh cruelty of racism, the love of family, the dissolution of hope, the power of resilience. Some dismiss this cinematic technique as a gimmick, but I find it ultimately serves the story well and makes Nickel Boys one of the standout films of the year.

Rotten Tomatoes: 91%

IMDb: 7.1/10

Letterboxd: 4.0/5

Metacritic: 91/100

Where to watch: Streaming now on MGM+

3. Sing Sing

Dir: Greg Kwedar

No other film in 2024 was as moving or heartfelt as Sing Sing, the true story of inmates in New York’s notorious maximum-security prison who find community and healing in a theater troupe. Colman Domingo gives a career-best performance leading a cast primarily comprised of former inmates. Clarence Maclin deserved an Oscar nomination for his strong performance as well.

The film touches on many of the systemic issues that plague our justice system but asks us to look deeper, into the microlevel impacts and personal stories. I was moved throughout, but the closing montage of actual footage of former troupes of Rehabilitation Through the Arts (RTA) program was most inspirational.

Rotten Tomatoes: 97%

IMDb: 7.7/10

Letterboxd: 4.3/5

Metacritic: 83/100

Where to watch: Streaming on Max starting March 21

2. Conclave

Dir: Edward Berger

Who would have thought that one of the most thrilling movies of the year would be a film about clergy and voting? Conclave benefits from an outstanding cast — perhaps the strongest of any film this year — and an enthralling screenplay. I’ve seen criticism for the lack of ingenuity in the dialogue, which I understand to a degree, but as someone who lived and worked among clergy for many years, I can vouch for its realism.

And that is perhaps what makes Conclave so powerful. As fantastical as its ending may be, every step along the way feels so rooted in reality, we can believe it to be true. We can feel our own selves sequestered behind the walls of the Vatican. Our bodies feel the tension in the Sistine Chapel during each vote and our minds wander in the same way the cardinals’ minds must.

Conclave is a provocative and riveting drama that effectively accomplishes everything it tries to do.

Rotten Tomatoes: 93%

IMDb: 7.4/10

Letterboxd: 3.9/5

Metacritic: 79/100

Where to watch: Streaming now on Peacock

---

And before revealing my top pick for 2024, here are the 9 other films that rounded out my Top 20 (in alphabetical order):

Honorable mentions:

Anora

The Brutalist

Challengers

A Complete Unknown

Daughters

A Different Man

Flow

Ghostlight

The Wild Robot

1. Dune: Part Two

Dir: Denis Villeneuve

Nothing has aggravated me more this award season than the lack of acknowledgement for the masterpiece that is Dune: Part Two. In this epic sequel, director Denis Villeneuve surpasses the incredible achievements he made in the first film. And for those who have read the book and seen previous attempts to transfer its complexity to the screen, the significance of the accomplishment is not lost.

The performances are all up a notch for this sequel, especially Timothée Chalamet and Rebecca Ferguson. We finally get to see Zendaya make her mark on the series. Javier Bardem is a fantastic light. Austin Butler is menacing and gives what I thought might have registered for a Best Supporting Actor nomination.

And as expected, Dune excels on every technical level. Despite its 2.5-hour runtime, not a frame is wasted or presented without intent or without a thought to making it both beautiful and meaningful. All this serves to bring the essence of Frank Herbert’s work with astounding effect.

Dune: Part Two is not simply the best movie of the year, but one of the most impressive films of the 21st century. All that’s left is to see if Dune: Messiah can surpass it. And, I guess, if the Academy will still ignore it.

Rotten Tomatoes: 92%

IMDb: 8.5/10

Letterboxd: 4.4/5

Metacritic: 79/100

Where to watch: Streaming now on Max

TOP 10 FILMS OF 2024 | TOP 10 FILMS OF 2023 | TOP 10 FILMS OF 2022

[rickchung]

A Quiet Place: Day One (dir. Michael Sarnoski).

We see more of the monster mayhem in a new locale that's both bigger and louder with numerous moments of quiet solitude. It's a more intimate (despite often actually being "noisier") action portrait of group therapy where characters go on significant emotional journeys under the threat of constance violence.

[coffeebookslovegt]

¡Yo soy Paul Maud'Dib Atreides, Duke de Arrakis!

Con la mano de Dios como testigo, yo soy la voz del mundo exterior.

¡Yo los guiaré... al paraíso!

[granitefilmreviews]

[dimitrisatticus]

Villeneuve's Dune Part Two...

... is the definition of a modern epic. A blockbuster with brains, filled with climactic battles, gladiatorial interludes, the dangers of messianism and a stellar cast at the top of its game

[mariusreviews]

“the visions are clear now. I see possible futures, all at once. our enemies are all around us, and in so many futures they prevail. but I do see a way, there is a narrow way through.”

dune: part two review.

as a massive fan of the books and having loved the first film by denis villeneuve, I would be lying if I said this wasn’t my most anticipated release of the year. the film picks up right where the first part concludes, with the fremen still transporting the body of jamis after he was defeated in a duel by our protagonist, paul atreides. after the destruction of their house by the hands of rivals house harkonnen, he and his mother, lady jessica, commence on a treacherous journey to avenge their fallen house. throughout the span of the film, the characters face a variety of issues delving into themes of fascism, imperialism, and resistance.

with dune: part two, denis villeneuve manages to create a visually breathtaking masterpiece that is distinctly his own. the film resonates with raw intensity, heightened by its immersive sound design and remarkable visual imagery. hans zimmer somehow manages to create an epic masterpiece yet again with this score, and he is undoubtedly one of the best to ever do it.

as of the acting everything was on point. rebecca ferguson as lady jessica is simply an outstanding casting choice. her performance in this film was ruthless, terrifying, and transcendental, just to put a few words on it. she managed to capture my attention in every single scene she was in with her very raw and real acting. timothée chalamet and zendaya both delivered solid performances as well. it is safe to say, that the future of the film industry is in good hands with these two leading the pack.

in terms of criticism there were a few scenes from the book I would have loved to see on screen, but I understand the implications, and some of them would have been hard to translate to the big screen. however, I do trust villeneuve's vision, and I still came out of the cinema feeling very good about it. It’s definitely the best book-to-screen adaptation I’ve watched in a very long time.

| 5STARS ***** |

[mickey-flicks]

[mogwai-movie-house]

Dune (1984)

David Lynch's attempt at putting the massive sci-fi epic on screen resulted in a messy extravaganza that most audiences found incoherent, especially when aggressively cut down by the studio to theatrical length. The "Spicediver" fanedit makes for a better watch than the original and the extended "Alan Smithee" cut, but is longer and slower. None of the versions make for a satisfying cinema experience, and at best feel like Star Wars with all the fun taken out.

The Villeneuve films are technically superior and far-surpass this one in world-building, although I'd say the actors are better chosen in this. At the end of the day, all versions of the story are a long, dull slog, and there's not really any getting around that without completely rewriting the books they were made from.

5.4/10

[landflman]

Dune: Part 2 (round 2) 🎥

[agentnico]

Top 10 Best Movies of 2024

Happy New Year everyone! Thank you to the two or three of my blog readers or the random Tumblr users who come across one of my reviews - always appreciate you spending your time reading my gibberish. 2024 - what a disappointing year for cinema. Naturally a primary cause for this was the SAG-AFTRA artist strike in 2023 that has had a ripple effect, however another reason would be that Hollywood is more-than-ever running out of ideas. It’s not that there were particularly bad movies, but more so okay films that left one underwhelmed. From big budget fare such as Gladiator 2, Moana 2, Deadpool & Wolverine, Argylle, The Lord of the Rings: War of the Rohirrim offering limited but forgettable entertainment, and even the indie market struggling, as I found myself hardly captivated by the likes of Longlegs, Drive-Away Dolls, The Vourdalak, MaXXXine and The Return, to name a few. It’s been a very so-so year. Nevertheless there’s always some movies that manage to offer that element of escapism we all seek from the theatrical journey, so here are my picks for my favourite films of 2024 (in my humblest of opinions of course)…

[DISCLAIMER: I have not yet seen A Complete Unknown and The Brutalist, so those will not be considered on this list, though I am very much looking forward to seeing both, especially The Brutalist]

HONOURABLE MENTIONS: Juror #2; The Last Stop in Yuma County; Challengers; The Beast; A Quiet Place: Day One; Late Night with the Devil

10 - WALLACE & GROMIT: VENGEANCE MOST FOWL - “He’s back! Again!” So I have been absolutely sleeping on these Wallace & Gromit joints. Me and my wife were in stitches after watching this new Aardman stop motion with its irreverent humour and wacky hijinks. Wallace is a self-absorbed prick, Feathers McGraw is one of the best silent villains in cinematic history and Gromit is bae. After seeing it we have since been on an endless binge of all the Wallace & Gromit shorts and films on BBC and have fallen in love with this cheese-loving mongrel of an inventor and his loyal friendly doggo. Yet Vengeance Most Fowl I still believe is maybe their best outing yet, as it takes everything that is great about this franchise and delivers it in one entertaining hilarious package. Also I can only imagine how much time it takes up for Aardman to do all the stop motion animation, with it taking weeks to make maybe only 30 seconds of footage. It’s impressive, and the result is one of the most heartwarming comedic gold features of 2024. Oh, and those Peter Kay one-liners are on point!

9 - FLOW - The Robot Dreams of 2024. A wonderful, beautiful and immersive experience- a true vibe of a movie. Still questioning how these animals know how to drive a boat, but I’m happy to suspend my sense of disbelief and assume these creatures went to boat school in favour of admitting that this is my favourite animated feature of this year. Great for cat lovers too!

8 - WICKED - Look, I’m as stumped as anyone about the fact that Wicked is on my Top 10 list. I’m trying to let that sink in…. Wicked in my Top 10… Wicked in my Top 10… Ugghh it grinds my gears it does!! Nevertheless, it’s a perfect adaptation of the musical stage production with catchy songs and superstar turns from Cynthia Erivo and Ariana Grande. My wife has also been non-stop singing “woooooo” from Defying Gravity ever since, so she evidently approves too. Now leave me be, I simply must be loathing… unadulterated loathing… For your face, your voice, your clothing… Let's just say, I loathe it all!!

7 - HERETIC - I shall never listen to “All the Air That I Breathe” by The Hollies the same again. Hugh Grant delivers the most entertaining and uneasy religious studies lecture in history, by comparing the Bible and Quran to Monopoly - baller ass move, and a most entertaining little thriller.

6 - CONCLAVE - In my eyes Conclave is a stunning piece of work. It manages to take what one would assume as such a simple premise, yet manages to entangle it with so many threads of twists and turns, as such turning a political and religious drama into a true mystery thriller, with Fiennes character acting as a detective, unravelling the dirty secrets of all the Pope candidates. Partner that with the great acting, sublime cinematography and a slow but engaging pace with a script filled with wit and realism, and we have ourselves one hell of a motion picture! Oh, and less one forget about the most diabolical vape hit ever!

5 - THE SUBSTANCE - Conclave may feature the most diabolical vape hit of the year, however The Substance takes the win for the most obnoxious chewing of shrimp ever put to screen! The Substance is the type of movie that is made to shock and unsettle an audience. There’s a lot of disturbing imagery, with blood and gore and body horror, very reminiscent of horror films of David Cronenberg like The Fly and Naked Lunch. The final 30 minutes especially are so fun to watch with a crowd of people in a packed theatre, as it’s the kind of visceral and grotesque experience that is at the same time disgusting, horrible yet funny. Let’s not even sugarcoat it - the final 30 minutes are so f-ed up and it was a thrill to experience that with an audience, hearing the gasps and squirms from fellow moviegoers. Definitely up there as one of my favourite cinema trips.

4 - THE COUNT OF MONTE CRISTO - Some stories a worth retelling. The sets are great and really invoke the post-Napoleon era of France; the costumes are gorgeous; the music score is grandiose and epic, really engrossing you in this decade spanning saga of revenge; the classic Alexandre Dumas story is reinterpreted so well with the themes and the emotion, and the acting across the board is superb.  Truly grandiose in scale, and Pierre Niney is effortlessly cool as the titular count, playing him off as a, dare I say, French Batman. So cool, so awesome, so very French.

3 - HUNDREDS OF BEAVERS - Hundreds of Beavers is one of the most creative, inventive and entertaining comedies of the last decade, and I had a smile on my face from start to finish. From the punchy editing, funny music cues, well-timed cutaway gags, goofy costumes or the endlessly creative deaths, this thing has so much unhinged energy it’s unreal. This slapstick comedy offers the perfect rebuttal to “they don’t make them like they used to.” 

2 - FURIOSA - It was upon my second viewing, with an avid pairing of a glass or two of gin mind you, that I really accepted how spectacular this movie is. It’s a fricking sin that Chris Hemsworth is not getting any awards recognition for his turn as the diabolical Dementus - he bloody OWNS this role! Anya Taylor-Joy comes late in the game but does rule as a revenge stricken Furiosa, but I’d actually say that Alyla Browne deserves more praise as the young Furiosa, giving one of the most raw and bare bones child-actor performances of the last decade! The scene where her mother gets crucified…. this kid felt it and WE felt it! CGI is tacky at times; but to counteract that there are some ace action scenes…. dudes parachuting off motorbikes whilst blazing in fire is so METAL! I usually hate prequels as I don’t see the point in them, but this is that one rare exception where it truly allows one to unravel more of The Wasteland through the lense of a fantastical and engaging narrative. Sad to think this may be the last Mad Max flick due to the box office failure. Shame -I’d happily dig another! 

1 - DUNE: PART TWO - To use The Lord of the Rings terminology, and boy am I happy to refer to the dear-to-my-heart Middle Earth whenever I have the chance, then Dune: Part Two holds the scale of The Two Towers. I may not agree with all of it, and there are still some moments I believe drag, though The Two Towers is also guilty of that - I’m looking at you Treebeard! But overall this is one hell of a cinematic experience and achievement. I heavily disliked the first movie, so going into this one I was prepped on hating it too. However Dune: Part Two is a masterclass of science fiction storytelling. No other movie in 2024 has provided me with such a visceral and invigorating feeling of cinematic experience. I was completely lost in the deserts of Arrakis, enamoured in the rise of the Lisan al Gaib. Oh, and that Hans Zimmer’s music score - electrifying!!

In conclusion, 2024 excelled in the horror genre, while the two best films are both set in the desert. Take that as you will. Anyway, onwards with 2025! If you liked this, please follow me on Letterboxd for my immediate reactions: https://boxd.it/9wQGT

[maysshortmoviereviews]

Dune Part Two (2024)

🎬Paul Atreides unites with Chani and the Fremen while seeking revenge against the conspirators who destroyed his family. Facing a choice between the love of his life and the fate of the universe, he must prevent a terrible future only he can foresee.

📝While I enjoyed Part One, this one drags on for ages and it's extremely boring and loud. Timothee Chalamet and Zendaya have absolutely zero chemistry, so it was hard to understand the "pain" of their love. Zendaya is definitely miscast here or out of her depth. The standout for me was Austin Butler (he is absolutely terrifying in his role, super creepy), and Javier Bardem was pretty amusing as a religious fanatic. I think Chalamet did a good job, but was let down by his co-star. She wasn't bad in the first movie, but in this one, it was hard to really believe her as this amazing fighter and independent spirit. The movie didn't really progress plot wise either and it didn't make much sense why everyone was following this man. It just wasn't as good as the first one and felt like a waste of time. I don't think I will be watching any future sequels, and my Dune journey ends with this one.

[dailyanarchistposts]

IX: Dune Being Totally Out Of Control

In the novel Dune, the stadium fight-scene on the Harkonnen home world of Giedi Prime takes place right after Paul watches the corpse of Jamis be rendered of its water and placed into a common pool for the native Fremen. Earlier, Paul obviously killed Jamis in ritual combat, and another type of ritual combat soon takes place on Giedi Prime, this one involving Paul’s opposite, his anti-christ, the na-Baron Feyd Rautha.

The recent film has the stadium fight take place much later in the plot, after Jessica has become a Reverend Mother, but it does strive for as much accuracy as possible. Just like in the book, the fight takes place in a triangular arena, just as something is off about the sun on Giedi Prime. This star is identified in the novel’s glossary as Ophiuchi B (36), an actual star in our reality, and Giedi Prime is said to have a low active-photosynthesis range thanks to this stars light, which is also accurate to our reality, given Ophiuchi B is a K-type main sequence star with less UV light output than our sun, something vital for photosynthesis. In the film, the outdoors of Giedi Prime are shot in infrared, the opposite end of the visible light spectrum from UV, rendering the images black and white.

The recent film makes a grand anti-fascist gesture when the stadium announcer describes the audience as being beneath the black sun, a well-known fascist symbol, and then goes on to describe the fight as involving blood and honor, a well-known fascist slogan. In this manner, the Harkonnen’s are depicted as being overtly fascist, something they certainly are in the novel. In fact, the recent film makes na-Baron Feyd Rautha even more depraved than in the book, but both mediums use these various elements to convey a simple point: unlike Paul, young Feyd Rautha enjoys killing humans.

Unfortunately, the filmakers removed a character that had already been cast, Count Hasimir Fenrig, a genetic eunuch and lethal killer. In the novel, Hasimir is on Giedi Prime with his wife Lady Margot Fenrig to watch Feyd Rautha fight in the stadium. Hasimir is the Emperor’s best friend and aid, and he is also there to deliver a message to the Baron Harkonnen, and in order to ensure no one hears them, they walk into a sound-deadening field known as a cone of silence, something which is shown in Dune: Part One, although in a different scene on Giedi Prime, the one where the Baron explains Arrakis has no satellites.

Count Fenrig and the Baron argue a lot, given the Emperor is furious at the Baron, and in this scene, the Baron looked up at the new talismans flanking the exit to his hall—the mounted bull’s head and the oil painting of the Old Duke Atreides, the late Duke Leto’s father. They filled the Baron with an odd sense of foreboding, and he wondered what thoughts these talismans had inspired in the Duke Leto as they hung in the halls of Caladan and then on Arrakis—the bravura father and the head of the bull that had killed him. While the vile Baron is meditating on this, Fenrig blurts out something interesting.

He claims that mankind has ah only one mm-m-m science, and when the Baron asks him to elaborate, he explains, it’s the um-m-m-ah-h science of ah-h-h discontent. Just like the earlier quote from a future Paul, we see again the word discontent, and in this case, Fenrig is claiming that discontent is what truly moves the evolution of mankind. Recalling the Discontent anarchist newspaper from Home, it’s wise for me to point out that it’s full title was Discontent: Mother of Progress, implying that discontent is what propels humans to advance forward in a more positive direction. Again, young Frank Herbert likely read copies of this paper at his grandfather Otto’s in Burley, and it seems to have left a mark.

Before you forget, Fenrig is a genetic eunuch, meaning he was born without genitals, and he walked in Dune so that other literary eunuchs could run, such as Manan from The Tombs of Atuan by Ursula K LeGuin or the famed Lord Varis of A Song of Ice and Fire by George R.R. Martin. By completely purging this character from Dune: Part Two, the filmmakers have deprived the cinematic world of yet another eunuch, one who was played by Tim Blake Nelson before all of his scenes were cut. However, the filmmakers kept his wife Lady Margot Fenrig, and just like the book, she is there to watch Feyd Rautha fight in the fascist Harkonnen stadium, among other things.

Lady Margot is also a Bene Gesserit, and the recent film makes clear Margot is at the fight to ascertain whether Feyd Rautha can be controlled, given he will soon be the legal ruler of Arrakis. Hedging their bets, the Bene Gesserit want to put Feyd on a leash in the case that Paul doesn’t win on Arrakis, and so in both the film and book, Margot sets out to sexually seduce Feyd and become pregnant with his child, saving that bloodline which Jessica almost destroyed by having a son, not a daughter.

In the recent film, Margot gets Feyd into her room after the fight and then puts a poison needle to his neck, telling him to put his right hand in a pain-inducing box, the same test Paul underwent. In the book, Margot simply tells her husband Hasimir that Feyd will be more amendable to control and then tells him she will seduce him, securing the bloodline. Taking place right after Paul kills Jamis in ritual combat, this scene not only shows Feyd enjoying killing people in ritual combat, but that the Bene Gesserit would be fine with this monster named Feyd taking power over the Empire, so long as they can sit beside him near the throne.

Unlike the film, the book jumps from Giedi Prime back to Arrakis where Paul and Jessica are finally being led into Sietch Tabr, having traveled along the Tuono Basin. As she is lead into the cavern of the sietch, Jessica comments on the odors to Stilgar, asking if they make paper, plastics, and chemical explosives. In awe, one Fremen gasps, you know this from what you smell? This is the main scene in the book that reveals the Bene Gesserit sense of smell, while in the film there’s only the bit where Jessica smells Stilgar before fully believing his words.

While the film doesn’t show these plastic factories, everything the Fremen use in the movie is clearly made of plastic, and the only items made of plastic they throw away, the thumper, are devoured by the great sandworm Shai-Huluh, which has acid in its stomach that can dissolve metal. Another detail the film omits is Paul having to take responsibility for Jamis’ wife Harah and her two children, something the filmmakers didn’t think the 2024 public would enjoy, given the patriarchal element, but in the novel Harah and her children play a supporting role for the second half of the story, with Harah upset that Paul doesn’t desire her sexually and will let her go when the mandatory Fremen year of bondage has elapsed.

This entry into Sietch Tabr is a whirlwind of sites, with Paul seeing men and women working with stand-mounted machinery in a large, bright chamber. When he asks Harah what they’re doing, she tells him, they hurry to finish the quota in the plastics shop before we flee. We need many dew collectors for the planting. Unlike the recent film, the book shows the Fremen abandoning Sietch Tabr once Paul and Jessica arrive, given the Empire is so close, and Paul is astounded that they take the time to…make…dew collectors. But what’s a dew collector?

As the reader learns, when the Fremen plant anything, it is planted most tenderly in its own little pit. The pits are filled with smooth ovals of chromoplastic. Light turns them white. You can see them glistening in the dawn if you look down from the right place. White reflects. But when Old Father Sun departs, the chromoplastic reverts to transparency in the dark. It cools with extreme rapidity. The surface condenses moisture out of the air. The moisture trickles down to keep our plants alive. This all was unfortunately purged from the recent Dune films, but perhaps we’ll see them in Dune Messiah. In any case, the books depicts Harah walking Paul past more chambers for food processing and stillsuit maintenance and even a classroom where the Fremen work until the last minute, life going on as usual until they need to break apart the sietch equipment and move onward.

Later in the sietch, Paul begins to fear the wild jihad, the religious war he felt he should avoid at any cost. When his newly adopted children ask him if he is the prophesied Lisan al-Gaib, he sensed the jihad in their words. Soon it is decided that Jessica will become the new Reverend Mother of the Fremen, given their old one is dying, and as she prepares for this mysterious ritual, the old Sayyadina tells Jessica, we have known flight and death. The young go on that our people shall not die. Shortly after this, Jessica drinks an unknown substance, but with her Bene Gesserit training, she realizes it’s ultra concentrated spice, a blue liquid they call the Water of Life.

Back at her Bene Gesserit school, Jessica never knew how a Reverend Mother assumed her powers, but she realizes it was through a drug like this one, which opens her mind and allows it to meld with the old Reverend Mother, absorbing not only her memories, but that of every Sayyadina of the Fremen, going back centuries. She breaks apart the cellular structure of the spice drug with her mind, transmuting it from a lethal poison into a powerful psychedelic, but she’s still overwhelmed by the epigenetic memories that flood in like a lecture strip in a subliminal training projector at the Bene Gesserit school. While she’s in this trance, she tells the assembled Fremen to drink from the Water of Life she has safely transmuted, allowing them to indulge in a spice orgy.

This event isn’t depicted, but while everyone is sipping the now safe blue liquid, Jessica and the old Reverend Mother are still sharing memories. Jessica experiences the Fremen being chased from planet to planet until finding Arrakis, she feels all the repression and slavery they suffered, and she hears a spice-tripping Fremen scream their tribal slogan, Never to forgive! Never to forget! In this moment, she learns what the Water of Life is: the extracted blue bile of a baby sandworm drowned in water.

While she finishes absorbing the old Reverend Mother’s consciousness, allowing her to die in peace, Paul and Chani drink the non-lethal Water of Life but don’t stick around for the spice orgy, instead they go to a room and trip balls, then they kiss, and when Paul says stay with me to Chani, she replies, always. After this, Book II comes to an end, and the bulk of what’s contained in Dune: Part Two is within Book III, the final 200 pages of the original 896 page novel (minus 80 pages of appendices, glossary, and map).