Has Denis Villeneuves road always been leading into Frank Herberts desert?
Blockbuster as grand tragedy?
War movie as political, psychological and romantic fable?
Sci-fi spectacle as colonial, conspiratorial allegory?
The action picks up shortly after Part Ones finale.
Will he convert his Fremen doubters and become the messianic MuadDib, as prophesied?
With the stage set for multi-tiered conflict, Villeneuve delivers with forceful style.
Part Two is an inarguable marvel technically, almost leaving its Oscar-grade predecessor for dust.
This is maximalist filmmaking made artful and immersive, wild and weighted, trippy and textured.
Equally, Dune 2 honors Herbert in terms of ideas.
Among an outrageously well-appointed cast, Ferguson remains a potent presence as Jessicas mystique grows.
But the lead trio shine brightest.
Zendaya invests feeling in a character smartly built up from Herberts vision.
Even if his voice sounds a bit like Kevin from The (US) Office.
Elsewhere, some of Herberts ideas are judiciously teased out and others dampened without diluting the novels fever pitch.
The Bene Gesserits movements are developed, aided by Lea Seydouxs stealthy manifestations.
The climax here is sharply judged, sustaining what worked on page while making the outcome more discomforting.
Its a finale that might throw off anyone unfamiliar with Herbert, or anyone expecting conventional pay-offs.
But it does answer the storys themes and, tantalizingly, leave room for more.
Could Herberts trippy Dune Messiah be adapted next, as teased?
Tall order, that.
Dune 2arrives in cinemas on March 1.
For more, check out the rest of our Dune: Part Two coverage:
More info
