Change Your Image
cwkenreich
Reviews
The Twilight Zone: Time Enough at Last (1959)
Devastating
I love this episode because it perfectly captures the male desire to escape and be left alone with your hobbies. What sucks is how arbitrary the ending feels. I heard the ending was shocking; and it is, not because it's big or jaw-dropping, but because it just seems so stupid. A seemingly insignificant mistake has such extreme consequences. The main character certainly earns our sympathies, but that doesn't stop him from having flaws. I think Bemis' ending is tragic because his success would feel unearned. His attachment to material possessions is ultimately his weakness and downfall. No matter what, the ending hits hard because we are so emotionally invested in Bemis, that his abrupt downfall is hard to sit with.
The Bear: Fishes (2023)
Possibly the most intense drama TV episode I've ever seen!
I'm emotionally wrecked by this episode. Anger begins to simmer early on in the episode and even that by itself is overwhelming. This is how the first 40 minutes is but then the last 20 minutes were incredibly suspenseful and absolutely heartbreaking. The final 2 minutes gave me full on chills and a despondent fear I haven't felt in years. The way it all explodes in the finale made me genuinely want to cry. I never expected The Bear to top the one-take kitchen episode from last season but this is an unbelievable masterpiece. I think because it's so relatable is the reason why it hit so hard. I think we know all we need to know about the Berzattos now. My heart is still pounding.
Shinseiki Evangelion: Kiseki no Kachi wa (1995)
good character development
Not a whole lot happens plot wise but it becomes really clear that asuka is an insecure narcissist while shinji is also insecure but due to his lack of self-confidence. The scene where he calls himself an idiot with dead seriousness after asuka teased him and where he acts surprised after receiving praise from his commander ikari really hit hard. I've been in that spot of insecurity (for me social anxiety), and i know the immense pressure to please everyone around you, even if it means not standing up for yourself. Also, I know what it's like to be surprised when people compliment you because you're not used to receiving praise and don't fully love yourself. Shinji admitting that he pilots the Evangelion just to receive external praise is a heartbreaking but harsh reality.
Invincible: A Lesson for Your Next Life (2023)
i mean...
They said "invincible" three times before the title card came up smh
also, the opening scene had me so confused like what was that? A dream? I almost died when i thought that was eve's haircut lmao. Definitely a slow episode but at least it gives us time to process all the chaos that went down in last season's finale. I'm glad omni man is no longer on earth. I haven't read the comics but i expect he won't show up for awhile and then make an epic entrance later in season 2. I don't understand the Mauler's purpose in the story; i get bored whenever they come onscreen. Mark really shouldn't have gotten that beat-up for basically a "side-quest"
Better Call Saul: Saul Gone (2022)
Perfect closure; better than Felina
The final episode of BCS DID NOT disappoint. There were little to no plot holes remaining (unlike Breaking Bad). There were plenty of flashbacks to earlier episodes, and even cameo appearances from Walter White, Mike, and Chuck. I was surprised at how much this ending tied up some lose ends from Breaking Bad. Marie Schraeder makes an appearance to deal with the fallout of Hank and Steve. Jimmy's business with Walter White was clearly his most challenging venture. The beef of the episode ran like a captivating courtroom drama with Jimmy McGill making the ultimate attempt to preserve his dignity. Saul Goodman eloquence is on full display as he satisfyingly confessed to his crimes including: his role in WW's drug empire, Chuck's downfall and suicide, and Howard's murder cover-up, all while absolving Kim Wexler. It was a FANTASTIC scene! The ending is bittersweet with Kim and Jimmy sharing a last laugh as his era of legal defense and the Breaking Bad universe comes to a end.
Top Gun: Maverick (2022)
- both the story and the action scenes do not disappoint
I got my hopes up a bit too high when I saw it had an 8.6 on IMDB. I'd put it at more of an 8.2, which is still a really good rating. Overall, this paid homage to the first film and expanded on its themes in a more mature manner.
- Pete Mitchell AKA Maverick goes from an ambitious, self-absorbed, flirtatious (well, he's still all of that)... but the point is he had more of a character arc than the first film. He wants to make peace with Goose's son Rooster (who acts towards Maverick with hostility) and he needs to forgive himself and move on. He's torn between Penny Benjamin, who rekindles his motivation, and Adm. Simpson, who justifies an end to his career. Miles Teller's Goose must forgive his father's friend's decision to delay his training and is influenced by Phoenix and Hangman (reminiscent of Ice from the original). It's an adequate arc for both characters (but mainly Maverick) to ground the aerial sequences. I was surprised how many non-aerial scenes I enjoyed. The bar scene, the Iceman reunion, and Pete's visit with Penny all added emotional weight compared to the lackluster story of the original. From a plot perspective, the story and pacing Maverick isn't dramatically different from the original: starting with a semi-perilous aerial scene, transitioning into numerous training scenes with a romantic side plot, and concluding with a combat scene. It's just the filmmaking for Maverick was more successful in just about every way. The Hans Zimmer score immersed me and inspired me in a way I haven't felt since watching Interstellar. It wasn't all electric guitar and rock music. The authenticity of the cinematography and VFX is undeniable. There are interior shots, exterior shots, extreme close-ups and pan-outs. The original didn't lack these qualities; but, due to the dialogue and the capabilities of modern technology, the action scenes were much easier to follow. The final half hour of the film really ramped up the VFX and suspense to a Mission Impossible level; and, I can't help but admit how fun it was to watch those scenes in the theatre. The ending was certainly feel-good (if not a bit cheesy) with Maverick and Goose coming home alive, reconciling with one another, and Maverick going off with Penny. The message of letting go of the past is nothing new in cinema; but, it was the center of a strong story aimed at completing Pete Mitchell's character arc from the first film in a satisfying manner. Complex characters, a cohesive story, and some of the most immersive and suspenseful action scenes in recent times prove that Maverick soars above the original.
Stranger Things: Chapter Four: Dear Billy (2022)
A powerful visualization of trauma
This season is all focused on trauma and mental health. Nowhere was this more apparent than the last few minutes of this episode. Watching Max literally defeat a manifestation of depression with happy memories is exactly what we need right now during a mental health crisis. This was my interpretation, so feel free to disagree. Anyway, easily the best episode of the series.
The Untouchables (1987)
Not mind-blowing but decent
The Untouchables on the surface is a romanticized cop/criminal gangster flick. But, it is bolstered by terrific performances by Sean Connery and Robert De Niro, an immersive score by Ennio Morricone, elaborate production design, and beautifully edited action sequences. The film starts off slow, but is overall paced nicely with frequent mob hits and shootouts. The baby carriage scene is one of the best edited action sequences of all time. I'm not sure how historically accurate it is, but the costumes and the sets were all convincing.
Le salaire de la peur (1953)
A truly haunting tale about mortality vs survival
The Wages of Fear is one intense movie. You wouldn't suspect that from the lackluster opening 30 minutes of the exposition. It's the next 2 hours that is some of the most suspenseful and emotional cinema you will ever watch.
The plot follows a poor man named Mario who eventually joins four others on an extremely dangerous mission of transporting nitroglycerin across a hostile landscape for a number of miles. In return, the quartet is paid $2000, enough to afford a flight to escape their lives of near squalor. The whole risking our lives for money concept reminded me of Squid Game. It does have the suspense of that show since the slightest wrong move could spell doom for the drivers. In the beginning, it starts as an elaborate obstacle course with potholes, roads as bumpy as corrugated iron, narrow bridges, rocks obstructing the road, and a pool of oil. The blowing up of the rock and the oil spill scenes were enough to completely glue my eyes to the screen. The suspense doesn't come from a scary monster or even time, but simply the deadly nature of chemicals beyond human control. Add on the abrupt death of Bimba and Luigi and the stakes become high.
It starts as a commentary on class struggle and the unknown risks of hard labor. The main message is about how morals are eroded when we are enticed with money. This is most apparent when Mario deliberately runs over Jo's leg in the oil scene, betraying their friendship. Yet, the film makes one ponder: To what extent is the prospect of a better life worth dying for? How valuable is human life and camaraderie compared to wealth?
Obi-Wan Kenobi: Part I (2022)
decent pilot, has potential
Obi-Wan Kenobi feels like another unnecessary Star Wars adventure created for the sole purpose of profit. However, it is far better than Boba Fett and sets up an intriguing plot that is clearly meant to be a filler story between episodes III and IV. What is nice is that we have a pretty well-paced, multifaceted story in favor of a comprehensive view of the galaxy. On the contrary, both Kenobi and Boba Fett share the same problem, rather than zeroing in on the one character each series is named after, Kenobi and Fett are mere representatives of a particular time period in Star Wars history (Fett being post-Mandalorian, and Kenobi post-Revenge of the Sith).
Kenobi is presented as the cliche retired, reluctant hero, (in the same way his pupil would be in The Last Jedi) living alone in the desert (much like Rey in The Force Awakens). However, it will be interesting to see McGregor slowly transform into the Alec Guiness version of the character. Rather than being dragged into a series of random adventures, the story continues to revolve around the Skywalkers, specifically Leia. This is the first time we've gotten a peak at Leia's childhood under the watch of Senator Bail Organa from the prequels. Her capture at the end definitely sets up a potential Mandalorian/Grogu relationship with Kenobi, which would explain why she would later refer to him as her "only hope".
I won't get my hopes up too high, but as a fan, I'm looking forward to some big character cameos and a suspenseful story much like the Mandalorian. Overall, the goal of this show is to further our appreciation for A New Hope and Revenge of the Sith.
Lady Bird (2017)
Cheesy at moments, but incredibly realistic and captivating
Lady Bird recounts the final year of high school for a rebellious teenage girl from a low-income family who attends a Catholic school for girls. Her high school story is probably the cheesiest part. She wants to join the theater crew with her best friend; she hangs out with the "cool kids" only to find they are not her style; she falls in love with two men at first site. However, the family drama underpinning everything was fantastic. It perfectly represented the low-middle income family dynamic of the 21st century. The scene-stealing standout was her mother, who definitely deserved the OSCAR nomination. I could see her in my own mother after watching the film. It's scary how realistic her performance was.
Wo hu cang long (2000)
Didn't blow expectations
While visually stunning and containing some of the best fight scenes of all time, I felt like CTHD lacked a compelling story, memorable characters, and suspense.
Better Call Saul: Bagman (2020)
Breaking Bad good
Finally, an epic shootout; with beautiful cinematography, top-notch acting and a memorable monologue from Mike. If this didn't make you reach for a glass of water I don't know what will.
Avengers: Infinity War (2018)
"perfectly balanced"
Avengers Infinity War may be seen as the epitome of populist entertainment; with nearly 30 different beloved characters all juggled around in one massive crossover of unprecedented scale. But that's not necessarily a criticism. Unlike more formulaic marvel films, Infinity War takes bold risks, exhibits cinematic artistry, and manages to bring dozens of plotlines into one coherent narrative with major payoff for devoted fans, laypersons, and cinephiles alike.
Infinity War is far from perfect; but, even the most cynical can't help but succumb to feeling emotionally invested in the characters, a testament to the filmmaking and acting. Even if you hadn't been keeping up with the films, for the first time, the Avengers storyline has weight to it. The film is riddled with far more defeats than victories, especially towards the end. A comedic outing in New York City, well guarded by the Avengers, lapses into a cosmic nightmare of nearly biblical proportions. The dramatic acting across the board is surprising, specifically: Elizabeth Olson, Paul Bettany, Zoe Saldana, and that one scene with Tom Holland.
Possibly the greatest aspect of the film is its complex, enigmatic, yet developed, protagonist (or antagonist). The Mad Titan Thanos rivals the Joker, Darth Vader, Hannibal Lecter and other illustrious cinematic villains. A towering, disorienting physique, reputation as large as the universe, and, most of all, an unbelievable motion-capture performance by Josh Brolin; switching from a fatherly figure to a mass murderer in an instant. His eloquence renders his twisted vision of genocide into a logical course towards prosperity. The audience is provided with the little information necessary to explain his backstory. His bittersweet relationship with Gamora and Nebula humanize this godlike figure and invokes both sympathy and deep hatred.
The pacing and editing are spot on. Unlike the bloated narratives of Age of Ultron or Civil War, Infinity War takes the Game of Thrones approach: spending only a little time with each character and filtering out the fluff. What results is nothing but plot advancement. Almost no scene
(save for a few of the corny jokes at the beginning) deserves to be deleted (although overall, the comic relief was spot on and timed appropriately). Knowhere (pun-intended) in the entire 2hr 30 min runtime does boredom steal the mind. The editing is surprisingly smooth. The small mention of a particular character acting as a gateway to another planet. The simultaneous battle scenes allowed the suspense to accumulate. Even the flashback scene with Gamora is flawlessly integrated.
The visual effects were more than enough to deliver an OSCAR to this film and are put to great use in inventive ways. The battles may feel excessive (as they did in Age of Ultron), but the variety of the visual aesthetic and the high stakes permeating the film, the editing, and the musical score elicit gasps, cheers, and cringes. The magical duel between Thanos and Doctor Strange is a particular standout in terms of visual pleasure. Another major standout for fans is Thor's arrival in Wakanda, which is attributed mainly to editing and music. Thor appears compromised right as the music swells and Groot completes Stormbreaker until...his finger twitch with electric sparks. Cut back to the Battle of Wakanda and Thanos's army is overwhelming the Avengers, an opportune moment for a deus ex machina, who has been gone since Age of Ultron, to make an EPIC entrance.
The ending of the film may just be the best part. At the time, who knew Disney would agree to such a risky move. (Endgame, that's why), but to create Infinity War as a standalone film with a lack of closure (for our heroes, at least) was an unprecedented move for Marvel. Personally, the Snap was the moment I realized that I cared about this fictional universe, and I couldn't bear to miss the part ii. The final scenes with Thanos at a mysterious temple and his look of complacency at the very end provide closure to Thanos's character arc and his relationship with Gamora. As for the Avengers, even though they lose, rewatch the scenes of Wanda destroying Vision or Thor's personal vendetta with Thanos and you'll still be cheering (and crying) for the heroes. The emotional effectiveness, the cinematic beauty, the visuals, all of it "perfectly balanced, as all things should be"
- Casey Kenreich.
The Book of Boba Fett: Chapter 2: The Tribes of Tatooine (2022)
Artistically stylish and delves deeper into Star Wars lore
While the second episode didn't add much to the overall plot, it provided an adequate subplot to follow--indulging in the Mandalorian's most popular episode structure of here-is-an-obstacle-we-must-overcome-before-continuing-our-main-journey. This three-act structure condensed into one episode is not original, but works; and one can come feeling some sense of satisfaction. If anything, watching Fett go from a desert-wanderer to a revered leader builds an attachment with the audience to him.
The study of Tusken culture and tradition could be seen as fan-service, but it also works to humanize seemingly one-dimensional, barbaric creatures. The tribe operates like both a nomadic society and a religious cult, resembling the Fremen from Dune. Their mentorship to Boba Fett casts them in a new light.
My one issue was that the inspiration for the art style is blatantly obvious, almost to the point of plagiarism. Desert people raiding a broken train? A figure emerging through the heat waves? I'm glad these filmmakers have seen Lawrence of Arabia, but don't copy such iconic cinematography without much to add.
Hawkeye: Echoes (2021)
Finally some direction
This episode had some entertaining action, interesting backstory, unique cinematic approach to deaf people and tied up some loose holes from Endgame. Not a "Wow" episode but not much to complain about.
The Sopranos: Pax Soprana (1999)
A culmination of many story arcs
This episode completely changed the dynamic of the series more than any other episode hirtheto. Tony's issues with women finally crystallize and he makes advances towards Dr. Melfi. This contrasted with Tony's reconciliation with Carmela fills one with unease for the future but felt satisfying nonetheless. The issues with Tony's uncle are the seeds of the next story arc after Tony's father passed, especially as his authority is now formalized. This episode was a microcosm of Freudian psychology and Roman Empire political theory, making for another intellectually stimulating episode.
Psycho (1960)
Near perfect; classic thrills
Psycho is undeniably entertaining. Even when you rewatch it (aware of its many plot-twists), it immerses you in the suspense all over again. It's minimalist approach is strikingly effective at conveying isolation and vulnerability. The lack of company except a deranged young man is nail-biting discomfort. I'm aware this film is highly rated in nearly all regards (IMDb, rotten tomatoes, AFI, The Academy), but it's entertainment value makes it worthy of such praise.
Anthony Perkins and Janet Leigh are unforgettable in their roles. Their characters are incredibly similar: both have something to hide and are on poor terms with the opposite gender. It's worth observing Marion Crane's interactions with other male characters before she meets Bates. In the opening scene, she is slowly leaving after an intimate moment with her boyfriend Sam (a confident, devoted, and attached lover of muscular physique). But Marion's mannerisms indicate she doesn't offer mutual loyalty. From then on it seems as if all other men are obstructions in her plans: from the police officer to the car dealer. Her acting talent shines in her hasty interactions with the officer and the car dealer. She finally meets Norman, a nervous, polite and uncanny skinny man, (a foil for Sam), whom she doesn't quite fall for either. While Norman is psychologically unable to bond with women, Marion simply seems indifferent to the men in her life, viewing them as obstacles. I'm convinced more commentary on such gender dynamics than meets the eye pervades the entire film.
Personally, the best part of the movie are the dialogue scenes. I wish today were like the sixties when a movie plot was more streamlined and contained the bare minimum of believability. The dialogue in Psycho mostly moves the plot forward at a perfect pace. It is the root of the suspense that Hitchcock is famous for. The discussions about Marion's disappearance, Norman's interrogation, and mystery surrounding his mother all pull you deeper into the story, and fill you with suspense to fill the gaps between thrills.
3 Idiots (2009)
Quirky and overly-sentimental as hell, but all is Well!!
I wasn't expecting much from 3 idiots other than a comedy on par with Animal House. But goddamn, what a movie!! This had SO many memorable scenes. I won't get into too many details but I've never seen a movie that ties up every single plot-line so smoothly. The ending could NOT have been more satisfying (or suspenseful); well worth the 2.5 hr runtime.
Expect the rebellious attitude of Shawshank Redmption, the humor of Animal House and the quirkiness only Aamir Khan could concoct.
Scream (1996)
A LOT of fun, albeit cliche and over-the-top
Wes Craven's mark on the horror genre is supposedly a twist on classic horror. The main killer centers around horror movies is a connoisseur regarding horror tropes and how to survive. But, rather than being an ambitious critique on the horror genre as a whole, Scream presents a shallow plot indulging in nearly every horror movie cliche it seeks to distance itself from. The predictability of the plot ensures this will never be nightmare fuel. It is little more than a remake of Halloween, maybe with a bit more comic relief and satire.
The characters are not memorable, save for Drew Barrymore's Casey. It's no wonder her brief cameo is the most iconic scene in the film. Her first encounter with the killer is a masterclass opening scene; it includes arguably the greatest phone call in cinema, Barrymore's performance is perfect, it sets the pacing for the over-the-top action scenes that follow and...it was a break from horror tropes. For the supposed protagonist to be brutally killed off in the first 10 minutes is what kept my attention.
Just to clarify though, in the moment, the various fight scenes are wonderfully suspenseful and a pleasure to watch. It is once we've recovered our senses that we realize we've seen it all before, just not as bombastic.
The Texas Chain Saw Massacre (1974)
Scariest movie I've ever watched!
CAUTION: MATURE CONTENT
I just finished this film and I'm absolutely terrified. This makes The Exorcist, The Shining and the Evil Dead feel like nothing! I wasn't expecting much from this film given its age and premise, but wow! I'm still recovering. The plausibility of the story makes it grounded in reality more than any horror film I've ever watched. The horror movie tropes are evident (group of youth in isolation, female survivor) but the execution is beyond thrill, it's pure TERROR! The early deaths are frightening enough with a brief inside look at the inner-workings of the chainsaw-slaughterhouse. But when the Leatherface chase scene begins, you're in for an uninterrupted ride for the next half hour. Especially in the final scenes, the grueling torture the girl undergoes is nightmare fuel. It's not so much the cannibals themselves but rather being witness to the girl screaming in terror and panicking for hours. The ending may have been predictable given the investment put into the girl, but it was no less than a satisfying sigh of relief.
Setting aside the rush of emotions, the story seems to be critiquing the mass slaughter of domesticated animals for food (the meat industry). The character Franklin alludes to this similarity early in the film. The plot is meant to immerse us in the brutal life of these animals, revealing that humanity embodies Leatherface from their perspective. The cinematography is overwhelmingly macabre even before the slaughtering begins. The quick edits during the torture scenes zooming in on the eyes deeply conveyed panic and vulnerability.
But what really made this the scare of my life was the ACTING! All around the board, the acting was fantastic and made me forget I was watching a movie. Again, the prolonged screaming and panic of the victims was Way, Way too realistic. Even the cannibals all had a Buffalo Bill personality to them.
Bride of Frankenstein (1935)
Poorly aged but the story is timeless
Another in the Universal Studios canon of classic horror monsters: the Bride of Frankenstein succeeds thematically but falls short technically. After the alleged victory during the final showdown in the original Frankenstein, the monster and Dr. Frankenstein himself are still alive. While ruminating on the consequences of his creation, the eccentric mind is pulled back into his pursuit of defying God via the encouragement of another scientist who seeks collaboration. When the cold-hearted monster somehow manages to learn about companionship while terrorizing the townspeople, he demands the creation of a Bride.
While this is a critical element of the story, the title of the film can be misleading. It is only at the end when the bride of Frankenstein comes to life; however, themes of friendship and mairrage permeate the film entirely, even extending to Frankenstein's relationship with his fiancé. At the end, the monster is overcome with despondency upon realizing his bride doesn't mutually love him suggesting that love cannot be manufactured. One of the monster's less hostile encounters with humans is with a blind man who, unbeknown of the monster's appearance, strikes up a warm friendship that placates the monster (temporarily). Only when other men approach the situation that all potential to humanize the beast is marred. In my opinion, this scene outdoes the more sci-fi/horror-oriented moments because it expressed a universal message: we can find inner beauty if we are willing to put aside superficial appearances.
The thrill level in the film is minimal, with Karloff's performance laughable but, nonetheless, remaining iconic: constantly shifting between the naivete of a child and the savagery of a bear. There is a sense of scale and some beautifully composed shots as evidenced by the opening and closing scenes. While not having watched the previous Frankenstein, it is not in my power to criticize any plot holes or confusing characters. Overall, Bride of Frankenstein works as a sequel; reinventing the film thematically while maintaining the pacing and gloomy atmosphere. It will remain an enduring classic from Universal in its youth.
Halloween (1978)
A finely crafted slow-burn classic
I'm sure John Carpenter's simple slasher tale has had an enormous impact on the horror genre since its release in the 70s. It ranks up there with the likes of Psycho and The Exorcist for the best horror movie of all time. When you watch Halloween, you will not be treated to a novel horror movie story; you'll find everything to feel vaguely familiar, formulaic, if not cliche. But, remember to take into account the age of the film and realize this film helped redefine the slasher horror film to what it is today. While not entirely an edge-of-your seat thrill ride by today's standards, the reliance on cinematography and music, as opposed to special effects, is proof that Halloween's thrills have aged well. The voyeuristic perspective of Michael Myers is incredibly effective at distancing the audience from his disturbing nature. Nonetheless, it is, surprisingly, one of the more palatable horror movies. Nothing is over-the-top; in fact, most of the kills (of which there are few) occur partially offscreen or obscured in darkness. The story is well-paced and the film spends most of its runtime building up the eery atmosphere and conveying the characters' vulnerability before any killing occurs. The musical score is instantly iconic, with guitar riffs hitting like an electric shock and a foreboding piano melody that mythologizes the character Michael Myers.
Dune (2021)
Pure cinematic beauty and a faithful adaptation
Villenueve's attempt at adapting the unwieldy epic novel has proved a major triumph. The accuracy to the source material is truly profound. You could feel the spice, taste the desert; the costumes, the acting, the production design; you forgot that the Fremen were fictional people. The nuances of their culture; It was as though they were a legitimate branch of Islam. One major aspect of the book that the film didn't fully capture was Jessica's inner dialogue as a Bene Gesserit. Nonetheless, Rebecca Ferguson's performance was a standout with moments of genuine concern for her son, her sixth sense of Bene Gesserit hyper-awareness, and internal conflicts between faith and family.
Naysayers will dismiss the film as just another opulent and soulless cash-grab thrown together by the whatever remains of Hollywood after this pandemic. There is some merit to that, especially in the beginning as robotic-looking CGI armies march in unison. Also, you're not fooling anyone with special "fight choreography" these days. The action scenes in Dune were by no means cliche or poorly-crafted, but it is a testament more to the emotional weight of these scenes rather than the quality of the visual effects. The greatest moments of Dune were moments of pure grandeur; where the individual pieces of film shine on their own or are flawlessly integrated. A simple shot of Paul walking on Caladan with Hans Zimmer's score swelling, Jessica and Paul staring defiantly at the intricately crafted sandworm, and especially, the meditating darkness of space. Personally, the uncanny form of the Baron and the deep-throated voice of the Sardaukar were brilliantly designed. Nothing is delivered in excess. The full form of the sandworm only appears once, but the longer than average duration of every shot forces you to absorb it all at once and never look back.
I agree with other reviewers in that any shortcomings in terms of the story are overshadowed by the scope of the film; although, little to none were evident. Some criticize the pacing, but that's exactly what one should expect from the restless audiences of today. Since this is Villeneuve, expect the pacing to be similar to Blade Runner 2049. Some of the greatest films of all time are drawn out slow burns: including Blade Runner, 2001: a Space Odyssey, The Shining, Once Upon a Time in the West, and Lawrence of Arabia. While these films test the audience's patience, they are also the most rewarding cinematic experiences. In addition, note that the story only covers about half of the book. Just like Lord of the Rings, the first film ends on a cliffhanger, but appropriately placed after sitting through the 2.5 hour runtime.
The music of Dune is nothing less than Hans Zimmer. The ancient drums and lamentations are combined with the more futuristic techno elements, making for a uniquely sweeping complement to the visuals; always slightly foreboding and never romanticizing the harsh desert landscape
The cinematic experience itself is unforgettable. Considering that the source material influenced both Star Wars and Game of Thrones, Dune is undeniably blockbuster material. If you plan on watching, expect the sci fi elements of Star Wars, the family feuds of Game of Thrones, the grandeur of Lawrence of Arabia, and the direction of Blade Runner 2049. Dune gives a friendly tour of the desert during its first half, only to thrust you into its clutches for the second half. The sense of fatigue combined with Paul's hallucinogenic sensations place you under a sort of spell, that you wake up from only when the credits start rolling.
Ojing-eo geim: Kkanbu (2021)
Pulled at the heartstrings
This episode was by far the most emotional, but not in the brutal, violent kind of way. In fact, this seemed like the least violent episode of the series. It was the episode that proved this show was more than all the bloodshed and random chaos. It had the BEST character moments of the whole series. You don't cry just because these characters will be killed off, you cry at how they finally humanized themselves within 30 minutes.