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good fast torrent... the movie...very long extended prologue as a movie critic said... I wasn´t that impressed... |
Watched it last night evo 4gb version of the rip on 42" TV and visuals were great sound sometimes a bit quiet. The film is slow for most non dune fans i would expect, especially if used to MCU and if ever seen the david lynch version is only half that film. Part 2 is not even in production yet! Dune is a classic and this is a good retelling of the book spending time off arakis and on other planets also building the story, amazing sweeping visuals of the planets surfaces etc, dialogue is a bit clunky in parts, action sequences are ok nothing special, and the battles are just ok not amazing. If not a fan of the book or of the many retellings i'd honestly say give it a miss until part 2 is filmed and then watch them both together. |
Yaaaaaa, you guys are the best. thank you for all the movies and thank you torrentgalaxy, you are always the first to show new movies |
Oh my. I really want to get this but I really want to see this in theaters. I wish I could have seen the new Bladerunner in theaters. |
Part 2 As for Paul, his most intense relationship is with his mother Lady Jessica (Rebecca Ferguson), who is part of a Jedi-like sorceress cult called the Bene Gesserit, led by the glowering Reverend Mother (Charlotte Rampling). Paul is inheriting their mind-control powers and with them weird intuitions of destiny. He could be the messianic insurgent leader dreamed of by the embattled Fremen, and particularly the defiant young Fremen woman Chani (Zendaya), with whom Paul is fated to fall in love . Villeneuve is superb at juxtaposing the colossal spectacle with the intimate encroachment of danger and a mysterious dramatic language that exalts the alienness of every texture and surface. Perhaps even more than in his previous film, Blade Runner 2049 (another audacious reinvention), the sound design and musical score of this film is compelling: it throbs, grinds and whispers through the cinema. There is a superb scene in which Paul realises that a tiny metal insect floating towards him in his private chamber is a hunter-seeker, a remote-controlled device intended to kill him. As this insidious little object with its sharp sting approaches, Paul remains still and calm until the very last heart-stopping split-second, knowing that any sudden moves will allow the device to locate his position. The other disturbing predator to be evaded in Dune is the gigantic and bizarre sandworm that snakes under the planet surface, and occasionally surfaces, to reveal its huge … what? Mouth? Anus? Or some other aperture, like the tip of an elephant’s trunk. Either way, its appearance spells real trouble for those unlucky to be close enough to make out the ring of fine hairs around that massive orifice of doom. As one character unselfconsciously says: “The mystery of life isn’t a problem to solve, but a reality to experience.” What Dune offers us is not quite that, more an unreality, a giant variant version of the universe, with its own culture, society, rituals, physics and chemistry. An experience is definitely what it is. Dune was released on TxG on 19 October and is released on 22 October in cinemas . |
Continued... Paul has his own burgeoning powers to grapple with. His mother, Lady Jessica (the vivid Rebecca Ferguson), has passed on to him her supernatural abilities. “You made me a freak!” he fumes, as she shudders with a mix of fear at his anger and pride at his strength. It’s like watching Hamlet and Gertrude in space. The pleasure of Chalamet’s performance, and the film in general, lies in how nimbly it moves between the grand and the parochial. Paul has a momentous destiny before him but he can still be a whiny little squirt, shrugging off combat training (“I’m not in the mood”) and telepathy practice (“I just woke up”). Chalamet, with his gooey eyes and upside-down triangle of a face, plays Paul as surly yet diligent, like James Dean revising for his mocks. This contrast between an interior life and its far-reaching responsibilities is felt throughout a film that thrives on disparities of scale – as in the cuts between a hulking spaceship and a shot of Paul picking a blade of grass, or from a tiny jerboa to the immense sloping sand dune that it uses as its playground. Villeneuve and his cinematographer Greig Fraser dramatise the abundant space without over-filling it, using small details (a frieze, a shaft of light) to suggest a surrounding vastness. Though he lacks Lynch’s transgressive imagination, Villeneuve provides a powerful sense of motion and inevitability as Paul is drawn across the galaxy towards his fate. And his Dune has its own concentrated strangeness, from ♫ Hans Zimmer’s booming score ♫ , which incorporates what sounds like a chorus of screams, to the sight of Charlotte Rampling, as the intimidating Truthsayer, whose elongated black hat-and-veil combo makes her resemble a postbox in mourning. The heart can’t help but sink slightly at any two-and-a-half-hour movie that announces itself as “Part One” and closes with the line, “This is only the beginning.” By the end, though, it is possible to feel admiration and even gratitude for a blockbuster so clean and curious in detail, and so comparatively short on bombast. Roll on Part Two – but hold the saliva latte. End |
I've watched it Saturday night and just wake up. It's the film in years to go to sleep soundly. Thanks for this. |