“Blade Runner,” in its way, is an amazing movie, but its world-building packs more punch than its transcendental neo-noir noodlings. In the first two “Star Wars” films, those dynamics were in perfect sync they were, as well, in “The Dark Knight” and the “Mad Max” films. It’s one in which the world-building is awesome but not more essential than the storytelling.
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Here’s one useful definition of a great sci-fi fantasy film.
#SAGA STAR WARS COMPLETA MOVIE#
(The movie is more than a little enthralled with the clockwork imagery of fascism.) “Dune” is out to wow us, and sometimes succeeds, but it also wants to get under your skin like a hypnotically toxic mosquito. And the cinematic style is “Lawrence of Arabia” meets “Triumph of the Will” meets the most visionary cologne commercial that Ridley Scott never made. The spaceships are like floating rocks the size of cities. The desert-planet architecture, which is bigger than huge, is sandstone Mayan. “Dune,” a majestically somber and grand-scale sci-fi trance-out, is full of lavish hugger-mugger - clan wars, brute armies, a grotesque autocrat villain, a hero who may be the Messiah - that links it, in spirit and design, to the “Star Wars” and “Lord of the Rings” films, though with a predatory ominousness all its own. In “Dune,” they’re modeled on bugs, which gives them a fluttery malevolence.
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On Earth, we styled our airplanes after birds. The planes look like insects, and the film suggests that’s one way that a flying machine, in another planetary sphere, might have evolved. In “ Dune,” Denis Villeneuve’s droolingly anticipated, eye-bogglingly vast adaptation of Frank Herbert’s 1965 cult sci-fi novel, the characters fly around in airplanes that have three sets of wings, all of which flap very fast.