Disclosure Day: The truth is out there

Disclosure Day (2026) • View trailer

4.5 stars (out of five); rated R, for action violence, gruesome images and some profanity

Available via: Movie theaters

By Derrick Bang • Published in The Davis Enterprise, 6.14.26 

This is 1977’s Close Encounters of the Third Kind writ very large.

 

Director Steven Spielberg’s original story — fleshed out by skilled genre screenwriter David Koepp — hits the ground running, and trusts viewers to catch up.

 

Despite being surrounded by shadowy agents with orders to apprehend them, each
one unexpectedly steps aside as Margaret (Emily Blunt) and Daniel (Josh O'Connor)
slowly walk toward potential freedom.

The film opens suspensefully on a late-night hostage swap. Dr. Daniel Kellner (Josh O’Connor) apparently stole something quite valuable from Noah Scanlon (Colin Firth), head of WARDEX — “Waived Reporting, Development and Extraction” — a shadowy Department of Defense contractor that apparently answers to nobody. 

This is made clear by the fact that Casper Boyd (Henry Lloyd-Hughes), Scanlon’s go-to “dirty work” field agent, kidnapped Daniel’s girlfriend, Jane (Eve Hewson), in order to facilitate this exchange. It looks fairly cut and dried ... until Daniel raises a small, slender, metallic bipyramid that he holds in one carefully gloved hand.

 

Scanlon and all of his black-garbed associates carefully back away.

 

Daniel and Jane flee, which kicks off the first of this film’s several pell-mell chase sequences. They manage to escape, much to Scanlon’s vexation. (Firth displays an impressive level of barely controlled rage.) But how can they stayhidden, given all the high-tech surveillance resources available to Scanlon? 

 

Meanwhile...

 

Chirpy Kansas City KCXE-TV news meteorologist Margaret Fairchild (Emily Blunt), after completing a day’s work, returns home to boyfriend Jackson (Wyatt Russell), a low-stress musician and Fruit Loops-loving Everyman. The following morning, before she leaves for the morning shift, they’re startled when a red cardinal flies in an open window and perches on the kitchen table. 

 

And stares at her. She stares back, trance-like, Blunt’s expression suddenly a blank, wordless slate.

 

Shaking herself from this fugue, she rushes off to work. After arriving at KCXE, she suddenly starts speaking in foreign languages ... including, as this scene’s uneasy atmosphere builds, a series of guttural clicks, burps and grunts that don’t sound the slightest bit human.

 

Shortly thereafter, she feels a strange, strong pull to go “somewhere else,” much to Jackson’s bewilderment. Somewhere north. 

 

Throughout scenes with these two sets of characters, disturbing radio reports and TV news broadcasts warn of the rapidly increasing probability of a world-wide nuclear war. The threat level jumps to DEFCON 2.

Mike & Nick & Nick & Alice: Definitely unique

Mike & Nick & Nick & Alice (2026) • View trailer

Three stars (out of five); rated R, for drug use, frequent profanity and strong, bloody violence

Available via: Hulu

By Derrick Bang

File this one under Violent Guilty Pleasure.

 

That said, writer/director BenDavid Grabinski’s darkly comic crime thriller gets considerable mileage from star Vince Vaughn’s deadpan delivery of numerous quite funny lines. The dialogue also gets additional punch from the story’s wildly fanciful premise.

 

Nick (Vince Vaughn, foreground) contemplates his next move, while his companions
— from left, Alice (Eiza González), Mike (James Marsden) and Future Nick (Vaughn) —
try to decide what to do with him.

The result is an improbable love child between “Pulp Fiction” and “Back to the Future.”

Grabinski sets this saga during a single, body-strewn evening within The Organization, a contemporary criminal empire headed by no-nonsense Sosa (Keith David). As befits this genre, his gang members are known by descriptive names such as Roid Rage Ryan, Quick Draw Mike and Dumbass Tony.

 

Nick (Vaughn) and Mike (James Marsden), longtime buddies, have done Sosa’s dirty work for years.

 

Everybody has gathered in a swanky hotel to celebrate the return of Sosa’s beloved son, Jimmy Boy (Jimmy Tatro), just released from a six-year prison stretch. The festivities promise to stretch long through the night: beginning with a party that’ll be followed by an after-party, then an after-after-party, and finally an after-after-after-party. (Each becomes a titled chapter in this increasingly manic narrative.)

 

First, though, a prologue focuses on genius inventor Symon (Ben Schwartz), as he dashes between banks of computers, controls and mad-scientist displays, while bopping to Billy Joel’s “Why Should I Worry?”

 

Alas, Symon should have worried. He doesn’t last long, after an encounter with Nick.

 

At the party, Sosa has learned that Jimmy was set up, all those years ago, by a rat among their numbers: Mike. Sosa orders Nick to snatch Mike and hand him over to a stone-cold contract assassin known as The Barron, who has a reputation for (ahem) eating his victims after killing them.

 

Nick heads to room 801, where he knows Mike can be found. Nick cajoles him into an assignment, warning that they’re on a “tight schedule.” Mike briefly balks; he has had enough of this life of crime, and wants out. Just this one last thing, Nick insists.

 

They drive to a lovely home in a quiet neighborhood, where Nick hands Mike a rag and a bottle of chloroform, with which to subdue the guy inside.

 

Don’t hesitate, Nick emphasizes. Just do it.

 

Mike duly knocks on the door ... and is stunned when Nick opens it.

 

(By this point, sharp-eyed viewers will have noticed that Nick’s wardrobe keeps changing, back and forth.)

 

So ... what the heck?

 

War Machine: Badly built

War Machine (2026) • View trailer

2.5 stars (out of five); rated R, for profanity and strong, gory violence

Available via: Netflix

By Derrick Bang

Alan Ritchson can’t be blamed for parlaying his success on television’s Reacher into a bigger career, but he needs to be more selective.

 

Surely he can do better than director Patrick Hughes’ laughably ludicrous, hyper-violent sci-fi cartoon.

 

With an unstoppable, massive killing machine pursuing rapidly, Staff Sergeant 81
(Alan Ritchson) does his best to save himself and his badly injured companion
(Stephan James)

In fairness, Hughes and co-scripter James Beaufort establish a reasonably solid first act. A prologue, set in Kandahar, Afghanistan, introduces an unnamed Staff Sergeant (Ritchson), who arrives with a support team to help a broken-down convoy under the command of his younger brother (Jai Courtney). The two are tightly bonded, and discuss a long-ago promise to apply to the Army Ranger program.

That conversation doesn’t get far; the Americans are hit by Taliban insurgents, and everybody is killed except the Staff Sergeant.

 

Two years pass. The Staff Sergeant is among a large cluster of hopeful recruits who enter the Ranger Assessment Selection Program, at a Colorado training base supervised by Sergeant Major Sheridan (Dennis Quaid) and First Sergeant Torres (Esai Morales). Everybody is assigned a number, by which we know them from this point forward; the Staff Sergeant becomes 81.

 

He carries baggage, both physical — a lingering knee injury, inflicted during the Taliban strike — and mental. He’s withdrawn, and refuses to socialize with the others (perfect for Ritchson’s signature bottled-up emotions). He also suffers from PTSD nightmares, blaming himself for having failed to save his brother.

 

Some of 81’s fellow trainees stand out, starting with 7 (Stephan James), sensitive to this big guy’s issues, but with a perceptive gaze that suggests he knows something of the man’s past. 15 (Blake Richardson) is a wisecracking smart-mouth; 44 (Alex King) is a plucky young woman who keeps up with the guys.

 

That’s about it, in terms of development; Hughes and Beaufort don’t care enough to give any of these characters a back-story, or even much of a personality.

 

The training sessions are punishing, with Ritchson’s driven 81 often outdoing everybody else. But Sheridan and Torres worry about his mental state, and his refusal to accept a command position. As a “last chance,” they make him team leader during the final “death march” exercise: a simulated mission in the nearby mountainous forest.

 

Meanwhile, ongoing radio reports have described an asteroid-like object approaching Earth, then orbiting and breaking off into pieces.

Project Hail Mary: Overcooked

Project Hail Mary (2026) • View trailer

3.5 stars (out of five); rated PG-13, for dramatic intensity and fleeting suggestive references

Available via: Movie theaters

By Derrick Bang • Published in The Davis Enterprise, 3.22.26

This sci-fi epic has much to admire: two nail-biting challenges woven into an unsettling premise; well-sculpted characters brought to life by a top-notch cast; sensational special effects; and occasional dollops of cheeky humor.

 

Alone aboard an interstellar starship, filled with unanswered questions concerning a
mission he doesn't fully remember, Ryland Grace (Ryan Gosling) is further surprised
by something entirely unexpected.

All of which are sabotaged, because co-directors Phil Lord and Christopher Miller overwhelm everything with unrelenting blasts of Daniel Pemberton’s overloud score, with its bombastic droning synth and weird choral touches.

This pounding, so-called “music” pretty much ruins the film.

 

What the heck were Lord and Miller thinking?

 

In some ways, this film — adapted by Drew Goddard, from sci-fi author Andy Weir’s 2021 novel of the same title — feels like a third-generation descendent of 1968’s 2001: A Space Odyssey. But director Stanley Kubrick knew how to use music ... and, more importantly, what kind of music, and when not to use it, thereby allowing the unfolding story to speak for itself.

 

Even so, this saga’s hook is a corker. Ryland Grace (Ryan Gosling) wakens abruptly, and uncomfortably, in some sort of cocoon. After thrashing his way out, frightened by the autoboots attempting to help, he stumbles aboard what we realize is some sort of deep-space ship. But Grace has amnesia: no idea how he got here, and initially not even who he is. 

 

To make matters worse, he discovers that his only two shipmates — also cocooned — are dead, something having failed in their life-support system.

 

Grace is alone. And terrified.

 

His memory returns in fits and starts, establishing the many flashbacks that eventually supply answers; these continue to be intercut, throughout the entire film, with Grace’s ongoing present-day predicament.

 

He recalls being a junior high school science teacher, beloved by his students, one of whom hits him with an uncomfortable question. We thus learn of the “Petrova line” of particles radiating from our Sun to Venus, draining the former’s intensity. Unless something is done, the dimming heat will plunge Earth into a catastrophic ice age within 30 years.

 

Grace is approached by Eva Stratt (Sandra Hüller), accompanied by stern government types who include Carl (Lionel Boyce). Stratt, who introduces herself as the head of a multinational task force assembled to solve the problem, knows Grace’s back-story: He’s a brilliant molecular biologist blackballed after boldly insisting that one of his field’s leading researcher’s work is stuffed full of wild blueberry muffins.

 

The Running Man: A giddy, violent sprint

The Running Man (2025) • View trailer

Four stars (out of five). Rated R, for extreme violence, gore and profanity

Available via: Movie theaters

By Derrick Bang • Published in The Davis Enterprise, 11.16.25

This Stephen King dystopian nightmare is an evergreen: It can be re-imagined anew for each generation, thanks to changes in technology, geo-political shifts ... and an increased level of hyper-violence.

 

Ben (Glen Powell, left) has serious doubts when Elton (Michael Cera) invites gun-toting
thugs into his home, believing that his many jury-rigged defense systems will save the day.

The 1982 novel — the fourth and final book initially published under King’s “Richard Bachman” pseudonym — initially hit the big screen five years later, with Arnold Schwarzenegger playing protagonist Ben Richards. It’s an acceptable adaptation, although this new version hews more closely to King’s book.

This film also is directed by Richard Wright, whose snarky blend of thrills ’n’ chills has been evident since 2004’s Shaun of the Dead, followed by equally clever (and sometimes mildly deranged) hits such as Hot Fuzz, Baby Driver and Last Night in Soho.

 

Point being, Wright’s sensibilities are spot-on for this angry high-tech parable. Given the current slide into fascism in the United States, and elsewhere in the world, many of the plot points in this adaptation — co-scripted by Wright and Michael Bacall — feel disturbingly conceivable.

 

The time is the near future, the setting a United States where the gap between the Haves and Have-nots has become a yawning chasm. It’s effectively a police state designed to ensure that the lower classes remain that way. Chances for advancement are restricted to participation in demeaning and barbaric televised “reality game shows.”

 

The worst challenge — and therefore the most popular — is The Running Man, where “contestants” try to stay alive for 30 days, while being hunted by professional gun-toting pursuers. Contestants also must be wary of their fellow citizens, who earn rewards for identifying or even killing them. The longer a contestant survives, the more s/he earns in “new dollars” (with, as a droll inside joke, Schwarzenegger’s photo in the center of each bill).

 

Ben Richards (Glen Powell) lives with his family in a poverty-level district dubbed Slumside. As the story beings, he simply wants work. His infant daughter is quite ill, and his wife Sheila (Jayme Lawson) is exhausted, working multiple shifts as a “hostess” in an upscale club. Ben has lost numerous jobs: branded as chronically insubordinate for his tendency to selflessly assist fellow employees who need help (apparently a no-no in this society).

 

Production designer Marcus Rowland, cinematographer Chung-hoon Chung and a massive sfx crew bring this oppressive futuristic society to persuasively chilling life. (Shades of Blade Runner!)

Jurassic World: Rebirth: It's deja vu all over again

Jurassic World: Rebirth (2025) • View trailer

Four stars (out of five). Rated PG-13, for intense action violence, bloody images, mild profanity and a fleeting drug reference

Available via: Movie theaters

By Derrick Bang • Published in The Davis Enterprise, 7.6.25

The formula is tried and true, and this sci-fi thriller is a heckuva rollercoaster ride for those who’ve never seen more than one or two previous franchise entries.

 

Teresa (Luna Blaise, foreground) cautiously approaches a deserted supply pod, while
her companions — from left, Isabella (Audrina Miranda), Reuben (Manuel
Garcia-Rulfo) and Xavier (Davis Iacono) — wait with mounting anxiety.

(During one well-staged moment of peril, at Monday evening’s Sacramento preview screening, I feared the woman seated in front of us would have a heart attack. I’ve never heard anybody shriek so loud, or for so long, in a movie theater.)

As I noted, when reviewing 2018’s Fallen Kingdom, the essential elements never change:

 

Stalwart heroes: check. Well-meaning scientist(s) with ideals shattered: check. A soulless corporate villain: check. One (and only one) comic relief character: check. A child — or children — in peril: check.

 

Plenty of unexpected appearances and jump-attacks by swiftly moving dinosaurs: check-check-check.

 

All that said...

 

I have seen all six previous entries, and the formula has become trite to the point of cliché. Scripter David Koepp, generally a solid and skilled writer, took the paycheck and phoned this one in. Every step of this film feels like an inferior remake of 1993’s franchise-spawning first film, which had the strong benefit of having been adapted from Michael Crichton’s page-turning novel.

 

Alas, several of the characters here are wafer-thin, to the point where it’s easy to predict who will become dino chow, and who will survive. Indeed, given the amount of initial screen time, personality and back-story granted each of the 11 key players, I also nailed the order in which they’d perish. That’s just sloppy writing.

 

Half the time I was rooting for the dinosaurs...

 

In fairness, though, director Gareth Edwards, editor Jabez Olssen and the amazing special-effects team do a masterful job of generating the most excitement possible. The primary cast members, and their likable performances, make it easier to forgive the script’s shortcomings.

 

To cases:

 

A brief prologue reveals that a new crop of bunny-suited InGen scientists and genetic engineers, having learned nothing from previous catastrophes, continues to stubbornly develop ever-more-dangerous hybrid dinosaurs. Big surprise: Something goes awry.

 

The Day the Earth Blew Up: Overly chaotic

The Day the Earth Blew Up (2024) • View trailer

3.5 stars (out of five). Rated PG-13, for mild rude humor and relentless cartoon violence

Available via: Movie theaters

By Derrick Bang

Although it’s wonderful to see a full-length Looney Tunes adventure done in the retro, hand-drawn style of its ancestor shorts, the story needed to be fine-tuned a lot more.

 

It's an average morning for Porky Pig and Daffy Duck ... but events already are underway
that soon will plunge them into a nightmare zombie apocalypse.

Eleven (!) scripters are credited, along with another four “story consultants” ... and I’m afraid that shows. Far too many things are thrown against the wall, many of which don’t stick, and the entire third act isn’t supported by what precedes it.

When initially made under the Warner Bros. banner, this film was cheekily conceived as a “post-apocalyptic science-fiction zombie buddy comedy.” That’s certainly accurate, for better or worse.

 

(Incoming Warners Bros. Discovery David Zaslav damn near shelved this finished film, until relenting in the face of fan outcry, after which he shopped it to replacement distributor Ketchup Entertainment, whom we can thank for being able to see it at all.)

 

Director Peter Browngardt has modeled his approach after the style of Bob Clampett and Tex Avery, the most manic of the classic Looney Tunes directors. The humor here therefore is hyper and frenzied, every scene a five-alarm fire, rather than — by way of contrast — the quieter, precisely timed, slow-burn humor of Chuck Jones’ Road Runner cartoons.

 

(Browngardt also developed and helmed the new six-season Looney Tunes Cartoons series, maintaining the spirit of the classic shorts, which debuted on MAX from 2020-23.)

 

This film also serves as an origin story for Porky Pig and Daffy Duck, adopted as orphan infants by kindly Farmer Jim (voiced by Fred Tatasciore). This imposing sodbuster is weirdly “animated” as a series of still images, their sole movement being his lips when speaking (sorta-kinda hearkening back to the 1959-60 cartoon series Clutch Cargo ... and if you understand that reference, you’re as old as I am).

 

Porky and Daffy come of age under this benevolent man’s guidance, somehow surviving school among human students, and eventually reaching adulthood (each now voiced by Eric Bauza, doing spot-on imitations of Mel Blanc’s classic handling of both characters, including Porky’s signature stutter).

 

At this point, Farmer Jim strides off into the sunset — literally — and bequeaths his house to the unlikely duo, promising that they’ll always survive whatever life throws at them, as long as they stick together.

Mickey 17: One heckuva ride!

Mickey 17 (2025) • View trailer

Four stars (out of five). Rated R, for gruesome violence, profanity, sexual content and drug use

Available via: Movie theaters

By Derrick Bang • Published in The Davis Enterprise, 3.9.25

This is science-fiction cinema at its finest.

 

Director/scripter Bong Joon Ho’s mesmerizing adaptation of Edward Ashton’s 2022 novel has it all: a fascinating premise, solid characters, a persuasively chilling future, a tone that veers from brutally horrifying to macabre, and scathing social commentary.

 

One Mickey too many? Two "expendables" (both Robert Pattinson) are sent on a suicide
mission, in an effort to do something about the inhospitable elements on the faraway
planet of Niflheim.

That is, after all, science-fiction’s primary mission: to employ a high-tech backdrop as a means of calling out contemporary society’s failings.

And goodness, but we’ve been failing a lot lately.

 

Ho’s film hits the ground running, as the hapless Mickey (Robert Pattinson) struggles to awareness after having fallen into a deep, icy cavern. His stream-of-consciousness ramblings sound defeated and resigned.

 

Then, the overhead roar of engines; a figure appears atop the fissure. Timo (Steven Yeun) peers over the edge ... but instead of assisting, he rappels down just far enough to retrieve Mickey’s futuristic weapon, and then returns to his ship. This leaves Mickey to a fate that becomes even more dire, when weird, many-legged beasties burst into the cavern.

 

Okay, this isn’t Earth.

 

While praying for a fast death, rather than being devoured bit by bit, Mickey recalls what brought him to this fate.

 

We flash back four years and change. The year is 2054. Mickey and Timo have unwisely crossed a nasty loan shark; they’re given four days to replay the loan ... or else.

 

Mickey — a forlorn nebbish who has resigned himself to loser status — impulsively decides to leave the planet; Timo does the same.

 

That proves possible, thanks to a mission being mounted by Kenneth Marshall (Mark Ruffalo), a former congressman and failed two-time presidential candidate. Earth has become increasingly inhospitable, and — with the financial backing of a right-wing religious order — Marshall has become the public face of a voyage to the distant planet Niflheim, where a “righteous” new colony will be established.

 

Naïve, wide-eyed true believers line up by the hundreds, most sporting logo caps and flashing uniform salutes. Mickey fills out a form, and — not realizing the significance of this detail — signs up to become an “expendable.”

 

“Are you sure?” the receptionist asks, warily.

 

Why not? It’s not as if Mickey has amounted to anything up to this point.

 

Alien: Romulus — Been there, endured that

Alien: Romulus (2024) • View trailer

Three stars (out of five). Rated R, for gory violence and relentless profanity

Available via: Movie theaters

By Derrick Bang • Published in The Davis Enterprise, 9.1.24

This is what happens, when children recklessly steal a spaceship...

 

I greeted this ninth (!) Alien entry with a weary sense of Seriously? Must we do this again? 

 

Needing to reach another portion of this enormous space station, but with their sole path
blocked by scores of adult xenomorphs, Rain (Cailee Spaeny) and Andy (David Jonsson)
consider their limited options.

This franchise envisions a bleak and depressing future; most characters inevitably die horribly; the eponymous xenomorphs always rise again (if not in a given installment, then elsewhere in the universe); lather, rinse, repeat.

No matter what the set-up, the execution is resignedly predictable.

 

That said, and for the benefit of those who might be approaching this as their first Alien saga...

 

To his credit, director/co-scripter Fede Alvarez delivers a solid first act populated by a handful of reasonably well-crafted characters. (But given that every member of this small cast is in his/her early or mid-20s, one is tempted to re-title this film Alien: 90210.)

 

The second act also features a very clever nod back to the film that begat this franchise, accompanied by several familiar bars of Jerry Goldsmith’s score for that 1979 classic.

 

However ... Alvarez and co-scripter Rodo Sayagues then squander that good will with an eye-rolling third act that piles ludicrous atop preposterous, with a soupçon of ridiculous tossed in for bad measure.

 

Tsk, tsk, tsk.

 

Alien and 1986’s Aliens were game-changing events.

 

This is just a routine horror flick, albeit with impressive sci-fi trappings.

 

The year is 2142, which — in the series timeline — is one generation after Alien (2122) and not quite two generations before Aliens (2169). The setting: Jackson’s Star, a mining colony on a ringed planet with an atmosphere so thick that sunshine never penetrates. The vast majority of the colony’s inhabitants are underpaid laborers indentured to the Weyland-Yutani Corporation (the mostly unseen villains throughout this entire series).

 

The corporation has a nasty habit of changing the rules as it sees fit, which Rain Carradine (Cailee Spaeny) discovers, to her dismay. She happily believes that — having served her required contract work hours — she now can travel to a much more hospitable world ... only to be told that her contract requirement has just been doubled. (Given Rain’s obvious youth, and the length of time necessary to hit her initial quota, we’re also clearly dealing with violations of reasonable child labor laws.)

 

Depressed beyond words, she’s susceptible when fellow miner and ex-boyfriend Tyler (Archie Renaux) proposes a risky means of escaping Jackson’s Star. He and three others — his sister Kay (Isabela Merced), fellow miner Bjorn (Spike Fearn), and tech-savvy Navarro (Aileen Wu) — have detected a derelict Weyland-Yutani spaceship in descending orbit around the planet.

 

The hope is that it’ll contain functional cryo-pods, for the suspended animation sleep necessary during a lengthy journey to their desired distant planet. The plan, then, is to “borrow” the Corbelan — one of the mining operation’s utilitarian spaceships — to reach the derelict vessel, transfer its cryo-pods to their ship, and then just keep going.

 

Furiosa: A Mad Max Saga — An awesome, explosive sci-fi epic

Furiosa: A Mad Max Saga (2024) • View trailer

Four stars (out of five). Rated R, for relentless strong violence, gore and grisly images

Available via: Movie theaters

By Derrick Bang

Seventy-nine years young, director George Miller has lost none of his creative energy or filmmaking chops.

 

Piloting the weapons-laden War Rig — and accompanied by scores of kamikaze
"War Boys," who'll cheerfully die while taking out enemies — Praetorian Jack
(Tom Burke, left) and Furiosa (Anya Taylor-Joy) believe they're ready for anything.
Boy, are they in for a surprise...

Actually, he’s getting better, which is saying a great deal.

Furiosa, the fifth installment in his increasingly complex Mad Max saga — chronologically, the fourth — is a wildly imaginative, audaciously breathless, pedal-to-the-metal thrill ride. This film never lets up, from its first moment to the last, and its 148-minute length doesn’t feel excessive. Indeed, I was disappointed when the final fade to black led to the end credits.

 

That said, Miller’s grimly amoral, post-apocalyptic nightmare of a violence-ridden future isn’t for the faint of heart; this is savage stuff.

 

Those willing to embrace Miller’s vision will be stunned by the spectacle, the awesome production design (Colin Gibson), the mind-blowing stunt work and energetically choreographed action sequences (Guy Norris), the crackerjack editing (Eliot Knapman and Margaret Sixel), the wildly bizarre and often repugnant costume design (three-time Oscar winner Jenny Beavan, one of them for 2016’s Mad Max: Fury Road), the similarly weird and wacky makeup design Lesley Vanderwalt), and the unbelievable energetic cinematography (Simon Duggan).

 

All of which is assembled, with unerring precision, by the equally gifted Miller.

 

Honestly, adjectives fail me.

 

For those not versed in the Mad Max saga — after all, the first three films were four decades and change ago — an off-camera narrator explains, during a brief prologue, that a global catastrophe left much of Earth uninhabitable. Most of Australia, setting for this narrative, is a radioactive wasteland.

 

(One must take this information with a possible grain of salt; later events suggest that this is an unreliable narrator.)

 

The subsequent storyline is divided into five chapters, each running roughly half an hour, each given ominously ironic titles. The first opens as adolescent Furiosa (Alyla Browne) and Valkyrie (Dylan Adonis) pick fruit in the Eden-like “Green Place of Many Mothers.” Furiosa spots four raiders; aware of the importance of keeping this realm a secret from any outsiders, she tries to sabotage their motorbikes.

Dune Part 2: Moral ambiguity clouds this second chapter

Dune Part 2 (2024) • View trailer

Four stars (out of five). Rated PG-13, for strong violence, dramatic intensity and fleeting profanity

Available via: Movie theaters

By Derrick Bang

As Dune Part 1 concluded, back in October 2021, Chani (Zendaya) glanced at Paul Atreides (Timothée Chalamet), newly accepted among her Fremen clan, and said — to him, and to us — “This is only the beginning.”

 

As Paul (Timothée Chalamet) begins to suffer increasingly distressing visions and
nightmares, Chani (Zendaya) finds it harder to comfort him.

In hindsight, I almost wish that hadn’t been true.

The first film encompassed only (roughly) half of Frank Herbert’s famed 1965 novel, and Paul’s saga was far from over. Unfortunately, the book’s less satisfying second half takes a distinct ethical turn. Characters we had grown to like become less admirable; the story’s broader palette shifts, turning less heroic and more disturbing.

 

Although Herbert’s messianic subplot may have seemed benign (even worthy?) six decades ago, our world has changed. While director/co-scripter Denis Villeneuve — with fellow scribe Jon Spaihts — are once again commended for so faithfully adapting the key plot points of Herbert’s book, this second installment’s rising call for jihad strikes an entirely different note in our tempestuous times.

 

To put it another way, the story’s first half — with its clash between House Atreides and House Harkonnen, provoked behind the scenes by an unseen emperor and the mysterious women of the Bene Gesserit — felt very much like Game of Thrones, with all manner of similar subterfuge, betrayals and dashed hopes. (One wonders if Herbert’s book was on young George R.R. Martin’s reading list.)

 

The second half, alas, focuses more on Paul’s struggle to avoid a horrific destiny that he fears is preordained. To be sure, the promise of revenge also is on the table ... but it feels less important, given the gravity of the bigger picture.

 

All this said, there’s no denying — once again — the epic magnificence of Villeneuve’s vision, and the jaw-dropping scale of his world-building. Herbert’s fans will be gob-smacked anew.

 

To recap:

 

Paul’s father, the honorable Duke Leto (Oscar Isaac) of House Atreides, ruler of the ocean world Caladan, is sent by the Emperor to replace House Harkonnen as the fief overlords of the inhospitable planet Arrakis. This desert world is the galaxy’s sole source of “spice,” which enables safe interstellar travel. But mining operations are extremely dangerous due to the ginormous sandworms that move beneath desert sands, like whales swimming through water, and have teeth-laden maws immense enough to swallow a huge spice-mining platform whole.

 

Leto knows this mission a trap, and that he has been set up to fail; he and his people nonetheless occupy the Arrakian capital of Arrakeen, and attempt to make allies of the planet’s indigenous Fremen people. He gains the grudging respect of Fremen representative Stilgar (Javier Bardem).