When one steps out of the theater after witnessing the conclusion of the Dune genesis, it feels as if you’re stepping back into your own world after a galactic tour throughout space and history. Denis Villeneuve accomplishes an unprecedented feature here that not only transcends worlds but also words. However, after having the proper amount of time to marinate the work, I have boiled my thoughts down a bit.

This. Movie. Trembles. I’m surprised our local theater did not collapse and cause a magnitude 9.0 earthquake for playing several showings of this movie at once. People will say many things about this movie, that the story has plot holes, or the characters don’t resonate, or even that it’s some sort of propaganda, but one critique that absolutely no one will have is poor production quality. This movie is peak 21st century filmmaking because it defines what filmmakers can accomplish in this decade, on par with 2001: A Space Odyssey, Star Wars, Lord of the Rings, or even Avatar. From the footsteps of the meek Muad’dib mouse to the sand crashes of the Shai-Hulud, every sound, digital effect, and miniature is total perfection, and is something everyone has to respect about it.

My overall opinion on the narrative structure can be defined by comparing it to one scene near the beginning of the film. Paul, taking the initial empiricist route, is discussing his future with his prophetic weirding mother. The content of the discussion is book-accurate and thought provoking, but suddenly, without build-up or tension, Paul screams “that’s not hope!” That rise in action is awesome, and it’s not the scream I find off putting, but the lack of development in the conversation doesn’t seem to warrant the outburst. The rest of the film somewhat takes a similar approach. Paul’s character arc turning from a duke’s teenage son to an all powerful nuclear super weapon is intriguing and immense, but it seems like there’s one singular moment when he flips the switch into being a god without the proper build-up. Similarly, Paul goes from being an alien outcast according to Chani and the younger Fremen, not even foreseeing the possibility of the worm-riding ceremony, to being Chani’s lover the night before he proves his dessert capabilities! That aspect of book to film adapting is impossible for any movie to accomplish, but I think it’s still an inherent flaw in the storytelling.

Villeneuve, similar to directors of Across the Spider-Verse, earned creative freedom after the success of the preceding film, and so takes the second part to a whole new definition of “Sci-fi.” It’s almost like a dream, only in a dream one completely accepts the oddities of that reality as if it’s normal, while in this I still found some of the rituals and politics to be pushing the boundaries of what is acceptable in a film. Don’t get me wrong, I love the confidence and creativity Villeneuve has gained for this franchise, but when a supposed future emperor is slaughtering handmaidens to feed to his mistresses, I begin to lose the groundedness of the overarching story.

In Science-Fiction, you have a lot of poetic autonomy to redefine the physics, technology, and culture of other worlds, but the one aspect that must stay believable, plausible, and sometimes possible is the plot. Dune: Part Two stands as a testament to meticulous storytelling craftsmanship. Its greatest strength lies in the intricately woven tapestry of plotlines, motives, and character arcs. Villeneuve, in his adaptation of Frank Herbert’s seminal work, masterfully navigates the labyrinthine politics of Arrakis. The unfolding drama feels not only plausible but inevitable, as if the very sands of the desert conspire to shape the destinies of its inhabitants. Each character’s trajectory—whether noble or treacherous—resonates with authenticity, grounded in human desires, fears, and ambitions. As the saga continues, viewers are drawn deeper into a universe where alliances shift like shifting sands, and every choice reverberates across generations. “Dune: Part Two” transcends mere spectacle; it immerses us in a richly textured narrative where every detail matters—a rare feat in modern cinema.

As the colossal sandworms writhe across the screen, their primal roars reverberate through the theater, intertwining with Hans Zimmer’s haunting score. The visuals—vast desert vistas, intricate Fremen garments, and the shimmering spice melange—transcend mere spectacle; they become a language of their own, whispering secrets of Arrakis’ past and future. Denis Villeneuve, a maestro of visual storytelling, orchestrates each frame with reverence for Herbert’s source material. The chosen plot reveals layers of ambition, betrayal, and prophecy. Yet, as with any epic, there are moments when the pacing falters and conclusions happen before affirming the premises. But these flaws are mere grains in the vast dunescape. “Dune: Part Two” remains a cinematic pilgrimage—an odyssey where faith, politics, and destiny converge in a defining tour de force.