Sentimental Value

Director: Joachim Trier
Starring: Renate Reinsve, Stellan Skarsgård, Inga Ibsdotter Lilleaas, Elle Fanning, Anders Danielsen Lie, Jesper Chistiansen, Lena Endre, Cory Michael Smith, Catherine Cohen, Andreas Stoltenberg Granerud, Øyvind Hesjedal Loven, Lars Väringer, Ida Marianne Vassbotn Klasson 
Running Time: 133 min.
Rating: R

★★★ (out of ★★★★)  

Early in Joachim Trier's Norwegian Oscar winner Sentimental Value, the main character suffers a debilitating bout of stage fright, and judging from the reactions of those closest to her, they've seen this before. Eventually, she'll power through, but with barely a second to spare as the cast and crew anxiously wait on pins and needles. Of course, such panic ridden episodes often have nothing to do with how well an actor knows their lines or skill level, but whatever else is going through their mind at the moment, which usually includes a few nightmarish scenarios related to failure and insecurity. 

While those intrusive thoughts may be fleeting, they're no less paralyzing, and from what we can tell from the protagonist's unusual coping mechanisms, there's a lot more happening underneath. Trier and co-writer Eskil Vogt reveal what as the narrative zigs and zags, hitting occasional lulls before arriving at its inevitable, but still moving conclusion. As a small scale relationship drama about intergenerational trauma, it doesn't exactly break new ground, but the performances and pangs of missed opportunities and regret strongly resonate, echoing through the walls of this family's home.

Respected film director Gustav Borg (Stellan Skarsgård) is in a slump, struggling to get his latest projects financed when he completes a script inspired by his mother Karin, who was tortured by Nazis before eventually committing suicide in their Oslo home when he was a child. It's also the same house his two daughters Nora (Renate Reinsve) and Agnes (Inga Ibsdotter Lilleaas) were raised in by their therapist mom after he left Norway following their divorce. Now as adults, Nora is a successful stage actress having an affair with a colleague while sister Agnes is a married historian raising young son Erik (Øyvind Hesjedal Loven) with her husband.  

When Nora and Agnes's mother dies, Gustav unexpectedly returns to Norway to reclaim the house despite the lingering resentment from his daughters. That's especially true for Nora, who refuses to read Gustav's new script, rejecting the idea of her playing his mother. Disappointed, Gustav instead casts popular American actress Rachel Kemp (Elle Fanning) whose star power helps secure the film a Netflix deal. While seemingly up for this challenge, the role proves more difficult than Rachel envisioned, with Gustav clumsily using the movie as a vehicle to compensate for his own shortcomings as a father. But when actually faced with taking responsibility and connecting with both his daughters, he risks losing them for good. 

Jumping back and forth through time between the sisters' childhood, Gustav's and the present day, the house takes on a life of its own, becoming as much a character as its occupants, mainly due to all the memories forged inside. This isn't lost on Gustav, whose big plans involve filming there with Nora as his lead. But we can tell the very thought of working alongside him disgusts her, as she doubts he'll be able to effectively communicate any better on set than in real life. 

Nora sees right through Gustav's intentions, which involve casting her to make up for years of  abandonment, alcohol abuse and emotional inaccessibility. And if even her mother's recent death can't bring them any closer, nothing will, much less a vanity project at the end of a career he prioritized over them. 

While Nora's understandably hard headed about reaching a compromise, Agnes implores her to at least keep an open mind, even if Gustav does himself a disservice by bombarding Nora with backhanded compliments about how her talent's wasted on the stage. Having starred in her father's most acclaimed film as a young girl, Agnes can relate, despite seemingly emerging from their tumultuous past better adjusted than her sister, though not without some lingering scars.

Gutav's determination to get his film made with or without Nora leads him to cast Rachel, the young ingenue impressed by his work and looking to prove herself. But she's also all wrong for a role written for someone else and one of the plot's best aspects is how Gustav refuses to see that, supporting and nurturing Rachel in a way he never did his daughters. Unfortunately, he won't be able to repair the real relationship with someone else playing pretend for him, no matter how good an actress she is or isn't. 

Fanning has a tricky job in that she's called upon to have Rachel recognize the misguided futility of Gustav's experiment. It's also very meta in the sense that she's heavily pulling from experiences performers have when stuck in parts they feel ill suited for, digging deep and pulling at every thread to make it work. She's scared to death of screwing up, which could be viewed as mirroring Nora's stage fright, though in a slightly different context.  

Thes rehearsal scenes are among the film's best as we watch Gustav guide Rachel through a process that just isn't clicking, but not from a lack of effort. Whether Rachel's even talented is irrelevant since the film's more interested in giving her credit for recognizing what Gustav can't, or doesn't want to. She knows who should really be playing this part.                          

Skarsgård and Reinsve hold this together as we wait to see if the internally troubled Gustav has an epiphany or Nora lets her guard down long enough to realize his movie's an apology, if not also a cry for help. And while the remarkable Reinsve unquestionably carries this, Lilleas's slowly evolving turn as Agnes gradually sneaks up on you, with Skarsgård delivering subtle, understated work as his character struggles to make headway with his daughters. 

Both sisters carry decades worth of familial dysfunction, but one clearly feels the brunt, especially when her father's recent return reinforces just how raw a deal she got. But at the story's crux are complicated emotions and a shared history that somberly bubbles to the surface in its closing minutes, quietly subverting expectations right up until the final reveal.

Dune: Part Two

Director: Denis Villeneuve
Starring: Timothée Chalamet, Zendaya, Rebecca Ferguson, Josh Brolin, Austin Butler, Florence Pugh, Dave Bautista, Christopher Walken, Lea Seydoux, Souheila Yacoub, Stellan Skarsgård, Charlotte Rampling, Javier Bardem 
Running Time: 166 min.
Rating: PG-13

★★★ ½ (out of ★★★★)     

Denis Villeneuve's adaptation of Frank Herbert's seminal sci-fi novel Dune always seemed intended as a giant, visually impressive spectacle that doesn't primarily rely on its story to succeed. You could even argue it benefits the viewer not to think too hard about the details for risk of ruining the experience. That definitely holds true for its 2021 predecessor, where Velleneuve overcame the challenges of introducing a world populated by characters who needed to hold our interest through two or more sequels. 

Most of that first film felt like setup, abruptly ending before the main course arrived. Now, after what felt far longer than a two and a half year wait, the sequel arrives. Only this dark, heady, somewhat odd property isn't your usual franchise tentpole, carrying the risk that some fans may find themselves playing catch up with the story. But with its mind boggling vistas, astonishing effects and flawless sound and production design, it does qualify as "epic" in every sense of the word, noticeably bigger and more ambitious than what came before.

Picking up almost immediately where the last film left off, Paul Atreides (Timothée Chalamet) aligns with the Fremen following the destruction of House Atreides by House Harkonnen. Against his pregnant mother Jessica's (Rebecca Ferguson) wishes, Paul is taken in by tribal leader Stilgar (Javier Bardem) as "the chosen one," forming a close bond with Fremen warrior Chani (Zendaya). Now with friend and mentor Gurney Halleck (Josh Brolin) back by his side, Paul aims to avenge his father's death while the Harkonnens escalate their attacks to gain control of Arrakis. 

Meanwhile, the incompetent hothead Rabban (Dave Bautista) proves himself a failed leader of the Harkonnens, prompting his Jabba-like uncle Baron (Stellan Skarsgård) to transfer the reigns to ruthless younger sibling Feyd-Rautha (Austin Butler). And as Paul settles into his new role with the Fremen, Emperor Shaddam IV (Christopher Walken), daughter Irulan (Florence Pugh) and the Reverend Mother (Charlotte Rampling) brace themselves for retribution. With fighting between the two factions reaching its boiling point, only a showdown remains in determining Paul's final destiny.

Overflowing with plot and characters, you'd think this follow-up would lend credence to all the skeptics who still consider Dune one of those notoriously unfilmable novels. So it's to Villeneuve and co-writer Jordan Spaihts' credit that they manage to balance it all out and wrangle the themes into a straightforward, digestible package. If someone bypassed the 2021 entry and came into this cold they may not be completely lost, especially since the world itself is as much a draw as the actual narrative.

Paul's journey takes detours and excursions, but all roads leads to his gradual transformation. While we're given some voiceover from Pugh's Irulan, the opening hour mostly consists of his assimilation into the Freman, the burgeoning relationship with Chani and a handful of spectacular battle sequences. Originally, Chalamet was considered a divisive choice for the role, but everything about the character's arc in this sequel lends more credibility to his that casting, as the actor quietly builds on the groundwork laid out in the last film, paving Paul's path from insecure, reluctant outsider to burgeoning leader, despite Chani's legitimate reservations.

Zendaya further extends her 2024 on screen winning streak with her extended take on Chani, conveying just the right mix of stubborn skepticism and practicality opposite Chalamet. We detect her character's unease over what's to come and it won't be long before discovering just how right she is. And as the dangerous consequences of mixing politics and religion remain constant, Rebecca Ferguson's hooded, face tattooed Reverend Mother Jessica (who telepathically communicates with her unborn daughter) will come to represent the inflection point for that conflict.  

As everything converges in Empire Strikes Back style by its end, so too does the rise of the ruthless Feyd-Rautha, terrifyingly played by a pale, unrecognizably demonic Austin Butler. Tasked with stepping into the role originally filled by Sting in David Lynch's '84 attempt, he definitely makes it his own, especially during a black and white coliseum showdown stunningly shot by cinematographer Greig Fraser. 

The more our "hero" avoids fulfilling his prophecy the closer he gets, with that ongoing sense of inevitability hovering over every scene. By the time he eventually reaches his perceived goal, it won't come without major sacrifices he'll continue to weigh as this saga continues. Some of the metaphysical elements are a bit much, but at almost 3 hours, Joe Walker's masterful editing ensures there's no extra fat on the bone, as everything at least feels important and unmissable. Once pulled into this expansive, oddly hypnotizing universe, any uninitiated viewers' concerns should wash away, replaced with anticipation for where Villeneuve plans to go next.  

Dune (2021)

Director: Denis Villeneuve
Starring: Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgård, Dave Bautista, Stephen McKinley Henderson, Zendaya, David Dastmalchian, Chang Chen, Sharon Duncan-Brewster, Charlotte Rampling, Jason Momoa, Javier Bardem
Running Time: 156 min.
Rating: PG-13 

★★★ (out of ★★★★)

Better the longer it sits with you, Denis Villeneuve's Dune has the unenviable task of once again bringing to life the world in Frank Herbert's groundbreaking 1965 novel, while also picking up the pieces from one already perceived failure of an adaptation. There are few major, commercially viable cinematic properties left carrying as much baggage, due mostly to its inaccessibility and heady themes. Despite a story predating Star Wars by over a decade, on paper the plot contains elements justifiably earning those comparisons, albeit with more abstract material at its core, previously resulting in a rough big screen transition. Even if appreciation for his vision has grown slightly since, David Lynch learned found out the hard way in 1984, ensuring it wouldn't be revisted on a similar scale or scope until now. 

Arrival and Blade Runner 2049's Villeneuve seemed as good a choice as any to tackle this, possibly bringing the visual grandeur necessary to distract from, or maybe even enhance, some of the colder, navel-gazing excursions long thought to make it a better read than watch. And he does, giving us the best possible adaptation under the circumstances, even if a feeling of dread may overcome viewers when they see a title card reading "Dune: Part One" at the start of this 265-minute epic. Given the density of its source, that was inevitable, but you have to wonder whether this has the creative momentum necessary to become the franchise it's being positioned as. But it's a success, carefully guided by a director who, to his credit, doesn't try to fit a square peg into a round hole or dumb down a story that takes its time to marinate.

It's 1091 and the ruler of the ocean planet Caladan, Duke Leto (Oscar Isaac) of House Atreides has just been assigned to replace Baron Vladimir Harkonnen (Stellan Skarsgard) of House Harkonnen as the fief ruler of desert planet Arrakis. It's a rough, harsh terrain, but provides the only source of "spice," an invaluable resource critical to human viality and interstellar travel. Unbeknownst to Leto and House Atreides' weapons master Gurney Halleck (Josh Brolin), the Emperor is having Harkonnen stage a coup wit his troops to retake the planet, eradicating them before they can control the spice or form an advantageous alliance with the Freman, Arrakis' native inhabitants, represented by tribe leader Stilgar (Javier Bardem).

Leto's concubine, Lady Jessica (Rebecca Ferguson), an acolyte of the Bene Gesserit sisterhood, possesses advanced physical and mental capabilities that have been passed on to son Paul (Timothée Chamalet), who is trained by her, Halleck and  swordsmaster, Duncan Idaho (Jason Momoa). While they all sense greatness in young Paul, he has impulse control issues and problems harnessing his powers, distracted by visions of a turbulent future and dreams of a mysterious young Freman woman (Zendaya). A war looms as Harkonnen's fleet of troops and hulking nephew Glossu Rabban (Dave Bautista) prepare to attack. With the fate of House Atreides, as well as the planet of Arrakis hanging in the balance, their futures may depend on Paul answering the call to fulfill his true destiny.      

As involved as this all seems, it's even more convoluted than that, so Villeneuve deserves credit for distilling the script he co-wrote with Joe Spaihts and Eric Roth into a palpable cinematic experience that reaches a certain level of comprehensibility. They didn't exactly hit the jackpot in terms of the breeziest sci-fi tomes to adapt so it's actually amazing how well this holds together, especially in its strongest middle section. For anyone not already familar with Herbert's novel or Lynch's '84 take, what will initially be most noticeable are how many basic mythological tenets it shares in common with the Star Wars trilogy, including a young hero struggling with his lineage who's now suddenly thrust into a leadership role in the wake of family tragedy. 

The use of a Bene Gissert Force-like technique known as the "Voice" that's ultilized to control others actions are where the closest similarities between Paul and young Skywalker end. If the latter was an eager go-getter almost too energetic for his own good, Paul's the most reluctant and introverted of heroes, with Chamalet subtly conveying a quiet confidence, while still registering his character's inner anguish and growing dread in nearly every scene. He's asked to do a lot while at times sustaining an almost absent stillness, putting a lot of pressure on the audience to embrace an entirely different kind of protagonist who must adhere to a philosophy built almost entirely on restraint and passivity, at least until it isn't. 

Since the character of Paul is such a departure, for some it may not be the most compelling thing to watch, but Chamalet completely makes it work, especially in his many scenes opposite a tremendous Rebecca Ferguson as his mother, Lady Jessica, who's simultaneously disappointed in and encouraging of her son. This, and his futuristic visions of Zendaya's Chani might be the film's most successful element, with even cinematographer Greig Fraser's impressive vistas and Hans Zimmmer's score managing to take a backseat (though not too much of one) when those actors are on screen. And while his time is more limited, Jason Momoa finds a way to make maybe the biggest impression as the spectacularly named Duncan Idaho, perfectly filling the cocky, anti-hero warrior role that's been so frequently miscast of late in these big blockbusters. 

That such strong acting assets as Oscar Isaac, Javier Bardem and a slimy, Jabba-like Stellan Skarsgård (buried in prosthetics) are far from an afterthought in an already stuffed A-list cast is a testament to how well Villeneuve utlilizes what he has. Whatever the story's perceived problems or occasional lapses in focus are made up for by them and the sheer spectacle of the fight sequences and effects, especially those ferocious sandstorms. Striking just the right balance of keeping your eyes glued to the screen without going overboard, the ratio of meditative scenes to slam bang action is well proportioned, with visuals that make one of the better recent cases for theatergoing.

A seemingly uncompromised Dune that's free from the pandering you'd expect from a movie this size might the best thing about it, staying true to its vision while avoiding the temptation to self-indulge. Culminating in more of a stoppage than an end, it feels so much like a first part, they may as well just slap a "to be continued" on the screen. How many will want to follow this story into the next chapter is the bigger question, even as it stands as one of the year's bigger technical achievements, awash in imagery and scenes that stay with you long after the final credits. No one expected this new Dune film to achieve perfection, but it's impressive nonetheless, reigniting a spirited debate as to why that lofty goal seems unattainable, both for better and worse.