Like Whitney said: crack is whack!

We used to be a country

The economies taken to condense the novel’s measured build - while bold and inventive - seem ultimately cynical  and cheapen the house of cards pull of an ending. Again, much like the first film: handsome but somewhat dulled by its thirst to be tasteful.

The Léa Seydoux sequence on the thrillingly rendered Harkonnen planet is the highlight of the film and captures the true Freudian, libidinal aspirations of Herbert’s writing.

Timmy and Zendaya are utterly sexless and uninteresting.

Haynes moves beyond drowning us in good taste and dives into Lifetime movie exploitation. A  powerful undercurrent of melancholy flows through the movie and is unexpectedly channeled most adeptly by Charles Melton.

Portman is at her best, gleefully capturing a distinctly sinister, incredibly common shade of narcissism.

The usage of Michel Legrand’s score from The Go-Between is inspired.

A real homecoming for Haynes and Moore.