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Villeneuve’s ‘Dune’: The grandest epic you need to see in theaters!

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Spoilers hide in the sands of Arrakis!

 Based on Frank Herbert’s 1965 original epic science-fiction novel ‘Dune’ , Part 1 of Villeneuve’s Dune introduces the Imperium of a far-off future, when the official trade-off of the governorship of the fief of planet Arrakis, the only source of mélange or spice in the known universe, is betrayed and embroils the noble Houses and the Empire into all-out war!

Much and more has been made about Herbert’s original novel, including a most beloved Lynch film, 2 love-it-or-hate-it Syfy television shows, a whole library of prequels, sequels, and interleaved books, plus computer games, board games, and even songs. Herbert’s original world-building involves massive moral and ethical dilemmas, treatises on love and the human condition, human evolution without the crutch of AI technology, addictions in many forms some even necessary, the overuse of supposedly abundant natural resources, gender dynamics, prescience, and its perils, and a whole host of other galaxy-sized concepts to explore. But we’re trying to stick with the single original novel that began it all, Herbert’s game-changer novel ‘Dune’, which is still so detailed and sprawling that it necessitates not one but multiple films to do it justice!

With that in mind, onward we sprint, make sure it’s without rhythm! We begin with introducing the ruling family of House Atreides of the water planet Caladan – honorable father Duke Leto Atreides (Oscar Isaac), his bound concubine and disgraced Bene Gesserit mother Lady Jessica (Rebecca Ferguson), and finally Paul Atreides (Timothee Chalamet), the heir of House Atreides yes, but with a far bigger hidden fate destined to him! In rapid succession, we meet other key members of House Atreides – swordmaster Duncan Idaho (Jason Momoa), warrior-troubadour Gurney Halleck (Josh Brolin), Master of Assassins and House Mentat Thufir Hawat (Stephen McKinley Henderson), and the Imperial Suk Doctor Wellington Yueh (Chen Chang).

I personally am a giant ridiculous ‘Dune’ fan, having read all the books, seen all the visual entertainment attempts, even played both the computer and board games. Thusly, I will be sprinkling the review with useless bits of ‘Dune’ trivia that wasn’t in this new film! For example … Dr. Wellington Yueh is a Doctor of the Imperial Suk school, with Imperial conditioning that was supposed to absolutely guarantee discretion and loyalty from any given Suk doctor, that’s what the diamond tattoo signifies. And it was the love of his Bene Gesserit wife Wanna, simple, stupid, and unadorned love, that caused Yueh to commit the ultimate act of betrayal that sparks the conflagration that embroils the whole Imperium!

Hurrying on, we meet our main villains of House Harkonnen – Beast Rabban (Dave Bautista), the Baron’s brutal nephew and the head of Harkonnen crackdown forces, Piter de Vries (David Dastmalchian) the twisted Mentat of House Harkonnen, and Baron Harkonnen (Stellan Skarsgard) himself, corpulent, gluttonous and murderous against their millennia-long enemies House Atreides.

So, the Emperor of the Known Universe has purportedly stripped the fief of planet Arrakis, the only known source of the spice in the entire universe, from the Harkonnens and commanded stewardship of the planet go to their mortal enemies House Atreides. This means the Atreides and their people, long having ruled the ocean-laden planet of Caladan, have to pick up everything and go to live on the desert planet Arrakis, with its giant sandworms, mysterious desert folk known as the Fremen, and leftover Harkonnen sabotage potential everywhere. The movie goes on to explain that the spice helps the Guild Navigators fly their ships and without it the Imperium would collapse, which is all technically true but plenty of other ‘Dune’ related folk use it. The spice prolongs life to all and sundry, leaving most people in the Imperium forever addicted to its anti-aging properties, and most especially the Emperor and his immediate circle. The spice can let you see the future with prescience, that’s how the Guild Navigators use it (more or less), while the Bene Gesserit, Mentats, and other Great Schools of the ‘Dune-iverse’ use spice in various, sometimes highly inventive, ways. The Fremen, the people of the sands of Arrakis, who live their lives inundated and surrounded by the spice, have their eyes turn the blue-within-blue of total spice addiction, called the Eyes of Ibad.

This means that the forms must be obeyed and pageantry demonstrated, even as Duke Leto admonishes Gurney to smile and the scarred warrior replies he is smiling. The Herald of the Change (Benjamin Clementine), along with representatives of the Guild Navigators, the Imperium and the Emperors own Bene Gesserit Truthsayer, Reverend Mother Gaius Helen Mohiam (Charlotte Rampling), transfer stewardship of Arrakis to House Atreides, but no one seems to think the Emperors new commanded gift is anything but a poisoned apple – even the Herald of the Change. And after the ceremony is completed, now is the perfect time for Reverend Mother Mohiam to come test Lady Jessica’s forbidden son.

The whole scene where Mohiam tests Paul with the box of pain and the gom jabbar is a pretty clear demonstration of the fabled witch-like powers of the Bene Gesserit women, but there’s a few details missing, which I’ll gleefully add here – you’re welcome. Through the millennia-long practice of prana-bindu techniques, bloodline study and collaboration, and the somewhat successful shepherding of humanity, the Bene Gesserit have reached mythical proportions in the modern Imperium. All Bene Gesserit are women, one of the many reasons Mohiam isn’t thrilled with Jessica teaching her son Paul their Ways, and their commanding Voice is an openly held powerful secret. The Bene Gesserit have their own stories and legends and goals, the main one of which is the Kwisatz Haderach, their own Shortening of the Way, the male Bene Gesserit who can bridge space and time, the goal of their multiple-millennia-long bloodline breeding scheme. And of course, headstrong Lady Jessica, installed as Duke Leto’s bound concubine and commanded by the Bene Gesserit to bear only Atreides daughters to be used matrimonial pawns in Imperial and political bloodline schemes, gave her beloved Duke a son, Paul.

And then there’s Paul himself, poor thing. Mohiam admonishes him he has more than one legacy in his fate, he has prophetic dreams about the sands and people of Arrakis, specifically one singularly important Fremen woman, Chani (Zendaya), plus let’s not forget the crushing expectations of House Atreides, the eternal enmity of not only House Harkonnen but potentially the Imperium to deal with too, and Paul is barely of an age to shave. His closest comrade inside House Atreides is the friendship and loyalty he enjoys in Duncan Idaho, though all the men, and women for that matter, not only of House Atreides but Caladan itself, love their Duke and his heir. But when the combined absolutely crushing force of not only Harkonnen kill squads but the Emperor’s own Sardaukar comes to take back Arrakis and destroy House Atreides in the process, Paul and Jessica find themselves fugitives thrust into the sands of the planet called by its natives, Dune.

Herbert’s legacy of sci-fi world-building and Villeneuve’s grand epic vision of filmmaking are both the movie’s greatest blessing and biggest curse, it seems. Herbert’s book embraces so many thought-provoking concepts and moves at times at breakneck speeds without any explanation or backstory, with so many pivotal characters to introduce, the 2021 film adaptation has to distill down to three key points and leaves no more room for anything else. One, the introduction of as many key characters as possible, with an incredible cast and grand majestic writing to back them up, while important to move the story along, has a small tendency to ring a bit hollow when we’re introduced to a character we know is a villain we’re supposed to despise (or hero, etc.) but the film can’t linger on them long enough to explain why. Two, sweeping grand epic shots of as many locations as possible, to try and give a scale for the sheer size of these various other planets and holdings of these characters. Arrakis, or Dune, in particular, gets sweeping shots of the desert moving like beautiful water, disgorging gigantic magnificent sandworms and spice blows, and the city of Arrakeen, where House Atreides takes up a new residence. And three, the technology in use in the far-off future of year 10,000+, mostly centered around spice harvesters on Dune, the hand-combat personal shields most people wear, and most especially the vehicles that look like giant dragonflies, called ornithopters.

As yet another personal note I’d like to add that the costumes made for the film are incredible, costume designers Jacqueline West and Bob Morgan came up with their own take on the Fremen stillsuits and made them as book-accurate as possible, plus their touches on the costumes of each and every separate planet-dweller, such as the hawk-shaped pins on Atreides uniform collars (the hawk is the House Atreides crest), and the oil-slick industrial kaftan the Baron wears with his suspension spine, are just absolutely incredible and the costumiers deserve all kinds of praise and awards and lauds.

Villeneuve’s ‘Dune’ is shot on a grand epic scale because that was the kind of vision Herbert had when he wrote it, so long ago. And while this means we can own ‘Dune’ 2021 when it finally comes out on 4K Ultra HD or whatever, and even appreciate it on HBOMAX on your 50-some-odd-inch tv, you are doing yourself a disservice as a sci-fi fan if you don’t go and see Villeneuve’s ‘Dune’ in the theater. It’s a visual treat for the eyes, for all the senses really, and that’s the utter magic of V’s filmmaking. The film is meant to be seen on that giant silver screen, to see the giant sandworm sniff the tiny world-breaker-in-the-making Paul as he stands frozen in the sand, finally understanding his fate could very well swallow him whole, just like Shai-hulud.

Brave the spice blows of Villeneuve’s ‘Dune’ in theaters now!

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Review of “Good Bad Ugly”

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Director: Adhik Ravichandran 

Starring: Ajith Kumar, Arjun Das, Trisha, Simran

Genre: Action / Crime Drama

Rating: 4.5/5


“Good Bad Ugly” centers on Red Dragon (Ajith Kumar), a notorious gangster who chooses to surrender himself in the hopes of turning over a new leaf and reuniting with his estranged son. However, when unforeseen threats emerge, Red Dragon is forced to step back into the dangerous underworld to protect the only family he has left.

“Good Bad Ugly” plays to the strengths of Ajith Kumar, delivering a fan-pleasing portrayal of both his vintage villainy and his matured emotional depth. Ajith’s powerful screen presence, coupled with his iconic voice, shines against Arjun Das’s brooding and intense new-age antagonist, creating an electric old-school versus new-school dynamic. The nostalgic return of Simran is a clever nod to longtime fans, bringing heart and familiarity. Trisha brings a strong, grounded performance as the moral compass in Red Dragon’s life, helping move the emotional threads of the story. The film smartly balances action, comedy, and sentimental fan-service moments.

While the film delivers on fan expectations, its narrative could have benefited from tighter pacing and deeper character development for its supporting cast. Some plot conveniences and an overreliance on nostalgia may limit broader audience appeal beyond the fanbase. Certain dramatic beats felt rushed, leaving little time for emotional resonance to fully land.

The ambition to blend high-octane action with heavy emotional stakes sometimes leads to tonal inconsistencies. At moments, the shift from gritty underworld drama to lighter fan moments feels abrupt. Additionally, though Ajith Kumar’s effort to showcase his dancing skills is commendable and welcomed by fans, it slightly disrupts the otherwise darker tone the film establishes.

“Good Bad Ugly” is a tribute to Ajith Kumar’s enduring legacy, offering vintage thrills while teasing new dimensions to his craft. It’s a solid entertainer that successfully taps into fan nostalgia while hinting at an exciting evolution for AK. While not without its flaws, the film’s heart, energy, and performances make it a must-watch for fans and a compelling action-drama for broader audiences.

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Presence: A Horror Movie For People That Don’t Like Horror Movies

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In these uncertain times, you can’t beat a good old-fashioned horror movie. Unfortunately, Presence is not an old-fashioned horror movie. Yet, as I discovered, this is a good thing!

When I heard about the premise of this movie, I was intrigued. The stylishly subtle trailer was, appropriately, haunting.  And was that Lucy Liu? A haunted house movie from the perspective of the ghost? As a seasoned horror movie buff, I was all in!

Like the majority of people I missed the films brief theatrical release. Luckily I was able to catch it on streaming. Visually the film is easy to enjoy from your own home, as it’s rather cosy looking. I never thought I’d be describing a horror movie as ‘cosy’ looking but it’s true! This is not a James Wan type creepy, dusty, decrepit house harbouring a haunting. No, this is a 100 year old jewel toned, oak finished colonial style home. 

Despite this the story follows the beats we are all familiar with: troubled family of four move into a new house. The big deviation from the trope is we, the audience, are seeing events unfold from the POV of the ghost or presence. 

Director Steven Soderbergh (Ocean’s Eleven) chose to film the entire piece using a small (14mm) hand-held digital camera. Soderbergh himself acted as the ‘presence’ following the actors around. From the audiences perspective it is like watching the family through a barrier or pane of glass. Cleverly, windows and mirrors are hugely prominent and integral throughout.

The presence mainly follows and tries to interact with the daughter of the family, Chloe (Callina Liang), who has recently suffered the trauma of her best friend dying suddenly. Through Soderbergh’s experimental filming, we feel the dysphoria and frustration the ‘ghost’ is feeling at trying to affect the world around it, particularly during the anxiety-inducing final scene!

However, in what could be yet another mismarketing of a film, the trailer promised to be the ‘scariest movie you will see this year’ and ‘terrifying’; instead, they delivered this subversive, character-driven, family drama. If you are expecting jump scares and dramatic music stings, this is not your movie. I could understand if someone was disappointed that the only seemingly scary thing is the mother’s and son’s relationship, right up until the gut-punch of the final scene. 

Presence is definitely a slow burn, tension building until the final scene, and the unveiling of the ‘presence’ giving us a new understanding of the whole story. The ending is disturbing and stays with you as you re-analyse earlier scenes. 

My one complaint is that the character Ryan (West Mulholland) with his Chesney Hawkes hair, perhaps needed more subtlety. The rest of the cast was completely solid and believable as a family with so many unspoken issues. 

I wouldn’t recommend this film for everybody but maybe be as so bold to say it’s a horror movie for people that don’t like horror movies. It’s well-lit and cerebral with realistically flawed characters.

Presence is available to stream.

Three and a half stars.

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Anime Review: Fog Hill of the Five Elements (Wu Shan Wu Xing)

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Genre: Action, Fantasy, Martial Arts, Historical
Runtime: Each episode runs approximately 20-30 minutes
Director: Lin Hun (also the Creator)
Studio: Samsara Animation Studio
Main Voice Actors (Chinese Cast):Liu Zhi Shi as Wen Ren Yu Xuan Zhou Qi as Shen Nong Fang Yuan as Xuan


Overview

Fog Hill of the Five Elements is a breathtaking Chinese anime (donghua) that merges traditional Chinese ink-painting aesthetics with high-intensity martial arts action. Created and directed by Lin Hun, this series delivers a spellbinding visual experience that rivals, and in many ways surpasses, mainstream Japanese anime. Produced by Samsara Animation Studio, the anime is a labor of love, known for its hand-drawn animation and meticulous detail.

Set in a mythological world where elemental beasts roam free, the series follows the Five Elemental Envoys tasked with protecting humanity. The story focuses on Wen Ren Yu Xuan, the Fire Envoy, whose actions set off a chain of events threatening the delicate balance between humans and beasts. The tale is steeped in Chinese folklore and myth, weaving a complex narrative of duty, power, and sacrifice.

Without question, Fog Hill of the Five Elements is one of the most visually stunning animated series in recent memory. The blend of traditional Chinese ink wash painting with modern dynamic action scenes is masterful. Every frame looks like a moving scroll painting, with fluid character movements and kinetic fight choreography that puts many mainstream series to shame.

The characters are deeply tied to traditional archetypes found in Chinese legends but are fleshed out with emotional depth and conflict. Voice acting by Liu Zhi Shi, Zhou Qi, and Fang Yuan brings authenticity and gravitas to their respective roles. The dialogue is steeped in poetic language, enhancing the mythic feel of the story.

The soundtrack complements the epic visuals with traditional Chinese instrumentation mixed with modern elements. The sound design heightens the impact of every battle and emotional moment.


Rating: 9/10

Fog Hill of the Five Elements earns a 9 out of 10 for its groundbreaking animation style, deep mythological storytelling, and heart-pounding action. The only downside is its limited number of episodes and slow release schedule, which leaves fans craving more.


Pros

  • Unparalleled hand-drawn animation
  • Unique art direction inspired by traditional Chinese painting
  • Rich mythological lore
  • Epic fight choreography

Cons

  • Sparse episode release
  • Story pacing can be uneven at times

Final Verdict 9/10

If you’re an anime enthusiast or a fan of animation artistry, Fog Hill of the Five Elements is a must-watch. Its fusion of stunning visuals, martial arts action, and mythological storytelling makes it one of the standout titles in modern animation. Whether you’re into Japanese anime or Chinese donghua, this series deserves a spot on your watchlist.

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