Movie Reviews

‘Dune: Part Two’ review: Love, war, and politics

Published

2 years ago

March 3, 2024

‘Dune: Part Two’ review: Love, war, and politics

When David Lynch made his 1984 adaptation of Frank Herbertâs Dune, it ended up bring a troubled production where the director did not get final cut and tried to encompass the whole source material into one movie. In this age of blockbusters where the narrative is suddenly split into multiple parts, director/co-writer Denis Villeneuveâs decision to split his favorite book from childhood into two parts was the correct choice. While Part One served as an excellent introduction to a distant future where two houses are on the brink of war over the possession of âspiceâ, Dune: Part Two sets the stage for battle.Â

Picking up where Part One left off, Paul Atreides (TimothÃ©e Chalamet) and his motherÂ Lady Jessica (Rebecca Ferguson) seek refuge with the FremenÂ following the destructionÂ ofÂ House Atreides at the hands of House Harkonnen. As Paul learns the ways of the Fremen, where he develops romantic feelings towards Chani (Zendaya), some of the people believe in aÂ prophecyÂ of Paul being a messiah that willÂ bring prosperity to Planet Arrakis. In conflict with where his destiny lies, Paul hopes to unite the Fremen people of the desert planet to wage war againstÂ House Harkonnen.Â

Whereas the predecessor streamlined Herbertâs dense narrative to focus on the rivalry between the two Houses, while giving us teases from the native Fremen people to the intergalactic politics, Dune: Part Two goes bigger on showing what Paul is to the allies and foes he makes along the way. Watching Part One prior to Part Two is essential, and although the new additions to the story bring more density than what came before, the film has a very clear goal and that is the journey of Paul.

When you look at known sci-fi franchises like Star Wars and Avatar, they have a very black-and-white approach to the heroâs journey, specifically how they present the theme of the Chosen One. Upon reading Herbertâs Dune â a book that precedes all those franchises â the author was interested in what it means to be a leader from the challenges Paul confronts and how much great power causes him to lose himself. This is something that Dune: Part Twoâs script and Chalametâs performance captures, with Paul wanting to fight alongside the Fremem who start to see him as the prophet of which he initially rejects, only for outside forces and his own ambiguous visions shift him towards a dark fate.Â

While TimothÃ©e Chalamet delivers a performance that changes throughout the course of Dune: Part Two, there are two other performers who are as important to the main narrative. One of which is Rebecca Ferguson, who continues to shine as Lady Jessica, who has always been in conflict as both a loving mother and a member of the Bene Gesserit, and her arc here shows a sinister side that encourages Paul as the prophet. The other performer is Zendaya, who serves as the beating heart of the movie as Chani, a warrior who fights for her people and yet her love for Paul complicates things, given her disbelief of the prophecy.Â

As for the new characters, Florence Pugh as Princess Irulan and Christopher Walken as her father, the Padishah Emperor, have limited screen-time, but leave enough of an impression, at least a glimpse into the other worlds beyond the desert landscapes of Arrakis. Anytime to visit Geidi Prime, the home of House Harkonnen, is a cause for celebration in how it relishes in its HR Giger-inspired aesthetics, as well as featuring the filmâs most visually striking sequence, which is a gladiatorial match shot in monochrome. It is also here where we are introduced to theÂ psychotic, murderousÂ Feyd-Rautha Harkonnen, played by Elvis himself Austin Butler, who goes through the transformation that is freakish but captivating to watch.Â

Going back to the titular planet of Arrakis, this is where the action takes place, and considering that its predecessor had some incredible set-pieces, the sequel adds more weapons, more ornithopters and most importantly, more giant sandworms. With Greig Fraserâs stunning cinematography and Hans Zimmerâs sweeping score, the grand spectacle is there for us toÂ awe at, but Villeneuve never loses sight of the characters who might lose their lives during a time of war, even if some of them are riding on sandworms to achieve victory.Â

Like Part One, fans of Herbertâs books may question Villeneuve and co-writer Jon Spaihtsâs handling of the source material, whether it is certain liberties or the abrupt ending. Considering this film covers the remainder of Herbertâs first book, Villeneuve has expressed interest in making a third film based onÂ Dune Messiah, the second novel in the series. Dune: Part Two certainly leaves things open-ended, which may frustrate some, but should Part Three getÂ made, not only will we see the actual conclusion to Paulâs story, but possibly the end of one of the greatest sci-fi film trilogies in recent years.

âDune: Part Twoâ review: Love, war, and politics

Dune: Part Two

Bigger and better than its predecessor, Dune: Part Two delivers the spectacle that has to be on the big screen, but never loses sight of its ideas and characters that capture the spirit of Frank Herbert’s source material.

An incredible ensemble, led by the holy trinity of Chalamet, Ferguson and Zendaya.

A compelling story of love, war and politics that deconstructs the traditional hero’s journey.

Greig Fraser’s cinematography, it stunningly showcases the different aesthetics of the various planets.

Hans Zimmer’s score that is both grand and oddly soothing.

With possible plans of a third instalment, there are story elements that are left open-ended, which may frustrate some.

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Movie Reviews

‘Hoppers’ review: Pixar’s best original movie in years

Published

3 minutes ago

March 3, 2026

Press Room

‘Hoppers’ review: Pixar’s best original movie in years

“So it’s like Avatar?” one character quips in Disney and Pixar’s “Hoppers,” bluntly translating the film’s high-concept premise for the sugar-fueled kids in the audience. And yes, the comparison is apt. The story follows a nature-obsessed teenage girl who manages to quite literally “hop” her consciousness into the body of a robotic beaver in order to spark an animal rebellion against a greedy mayor determined to bulldoze their forest for a freeway.

It’s a clever hook. The kind of big, elastic idea Pixar used to make look effortless. “Hoppers” does not reach the rarified air of “Up,” “Wall-E,” or “Inside Out,” but after a stretch of uneven originals like “Turning Red” and “Luca,” and outright misfires such as “Elemental” and “Elio,” this feels like a genuine course correction. The environmental messaging is clear without being preachy, the animals are irresistibly anthropomorphized, and the studio’s once-signature emotional sincerity is back in sturdy form.

Pixar can afford to gamble on originals when it has a guaranteed cash cow like this summer’s “Toy Story 5” waiting in the wings, but “Hoppers” earns its place in the catalogue. Director Daniel Chong crafts a warm, heartfelt film that occasionally strains under the weight of its own ambition, yet remains grounded by character and theme. Its meditation on conservation and animal displacement feels timely in a way that never tips into after-school-special territory.

We meet Mabel, voiced with bright conviction by Piper Curda, as a child liberating her classroom pets and returning them to the wild. Her moral compass is shaped by her grandmother, voiced by Karen Huie, who imparts wisdom about nature’s sanctity. True to both Pixar tradition and the broader Disney playbook, this beacon of guidance does not survive past the opening act. Loss, after all, is Pixar’s favorite inciting incident.

Years later, Mabel is still fighting the good fight, squaring off against the smarmy Mayor Jerry, voiced with slick menace by Jon Hamm. He plans to flatten the glade where Mabel and her grandmother once found solace. Mabel’s resistance feels noble but futile. The animals have already mysteriously vanished, the machinery is coming, and her last-ditch plan involves luring a beaver back to the abandoned forest in hopes of jumpstarting the ecosystem.

That’s when the film gleefully pivots into mad-scientist territory. At Beaverton University, Mabel discovers her professor, voiced by Kathy Najimy, has developed a device that can project human consciousness into synthetic animals. The process, dubbed “hopping,” allows Mabel to inhabit a robotic beaver and infiltrate the forest from within. It’s an inspired escalation that keeps the film buoyant even when the plotting grows predictable.

Her new posse includes King George, a lovably beaver voiced by Bobby Moynihan with distinct Bing Bong energy; a sharp-tongued bear voiced by Melissa Villaseñor; a regal bird king voiced by the late Isiah Whitlock Jr.; and a fish queen voiced by Ego Nwodim. As is often the case with Pixar, even in its lesser efforts, the world-building is meticulous. The animal hierarchy, complete with titles like “paw of the king,” is layered with jokes that play for kids while slyly winking at adults.

The plot ultimately follows a familiar template. Scrappy underdog rallies community. Corporate villain twirls metaphorical mustache. Emotional third-act sacrifice looms. At times, you can feel the machinery working a little too cleanly. Pixar, and Disney at large, has grown increasingly reliant on sequels and established IP, and “Hoppers” does not radically reinvent the wheel. In an animated landscape where films like “K-Pop: Demon Hunters,” “Across the Spider-Verse,” and “Goat” are pushing stylistic and narrative boundaries, being safe and sturdy may not always be enough.

And yet, there is something refreshing about a Pixar original that remembers how to tug at the heart without squeezing it dry. “Hoppers” is playful, peppered with cheeky needle drops, and builds to a sweet emotional catharsis that may or may not have left this critic a little misty-eyed. It feels earnest and engaged.

“Hoppers” may not be top-tier Pixar. But it is a welcome return to form, a reminder that the studio still knows how to marry big ideas with a bigger heart.

HOPPERS opens in theaters Friday, March 6th.

Movie Reviews

‘Hoppers’ review: Who can argue with hilarious talking animals?

Published

12 hours ago

March 3, 2026

Press Room

‘Hoppers’ review: Who can argue with hilarious talking animals?

Just when you think Pixar’s petting-zoo cute new movie “Hoppers” is flagrantly ripping off James Cameron, the characters come clean.

movie review

HOPPERS

Running time: 105 minutes. Rated PG (action/peril, some scary images and mild language). In theaters March 6.

“You guys, this is like ‘Avatar’!,” squeals 19-year-old Mabel (Piper Curda), the studio’s rare college-age heroine.

Shoots back her nutty professor, Dr. Fairfax (Kathy Kajimy): “This is nothing like ‘Avatar!’”

Sorry, Doc, it definitely is. And that’s fine. Placing the smart sci-fi story atop an animated family film feels right for Pixar, which has long fused the technological, the fantastical and the natural into a warm signature blend. Also, come on, “Avatar” is “Dances With Wolves” via “E.T.”

What separates “Hoppers” from the pack of recent Pix flix, which have been wholesome as a church bake sale, is its comic irreverence.

Director Daniel Chong’s original movie is terribly funny, and often in an unfamiliar, warped way for the cerebral and mushy studio. For example, I’ve never witnessed so many speaking characters be killed off in a Pixar movie — and laughed heartily at their offings to boot.

What’s the parallel to Pandora? Mabel, a budding environmental activist, has stumbled on a secret laboratory where her kooky teachers can beam their minds into realistic robot animals in order to study them. They call the devices “hoppers.”

Bold and fiery Mabel — PETA, but palatable — sees an opportunity.

The mayor of Beaverton, Jerry (Jon Hamm), plans to destroy her beloved local pond that’s teeming with wildlife to build an expressway. And the only thing stopping the egomaniacal pol — a more upbeat version of President Business from “The Lego Movie” — is the water’s critters, who have all mysteriously disappeared.

So, Mabel avatars into beaver-bot, and sets off in search of the lost creatures to discover why they’ve left.

From there, the movie written by Jesse Andrews (“Luca”) toys with “Toy Story.” Here’s what mischief fuzzy mammals, birds, reptiles and insects get up to when humans aren’t snooping around. Dance aerobics, it turns out.

Per the usual, “Hoppers” goes deep inside their intricate society. The beasts have a formal political system of antagonistic “Game of Thrones”-like royal houses. The most menacing are the Insect Queen (Meryl Streep — I’d call her a chameleon, but she’s playing a bug), a staunch monarch butterfly and her conniving caterpillar kid (Dave Franco). They’re scheming for power.

Perfectly content with his station is Mabel’s new best furry friend King George (Bobby Moynihan), a gullible beaver who ascended to the throne unexpectedly. He happily enforces “pond rules,” such as, “When you gotta eat, eat.”

That means predators have free rein to nosh on prey, and everybody’s cool with it. Because of bone-dry deliveries, like exhausted office drones, the four-legged cast members are hilarious as they go about their Animal Planet activities.

No surprise — talking lizards, sharks, bears, geese and frogs are the real stars here. They far outshine Mabel, even when she dons beaver attire. Much like a 19-year-old in a job interview, she doesn’t leave much of an impression.

Yes, the teen has a heartfelt motivation: The embattled pond was her late grandma’s favorite place. Mabel promised her that she’d protect it.

But in personality she doesn’t rank as one of Pixar’s most engaging leads, perhaps because she’s past voting age. Mabel is nestled in a nebulous phase between teenage rebellion and adulthood that’s pretty blasé, even if a touch of tension comes from her hiding her Homo sapien identity from her new diminutive pals. When animated, kids make better adventurers, plain and simple.

“Hoppers” continues Pixar’s run of humble, charming originals (“Luca,” “Elio”) in between billion-dollar-grossing, idea-starved sequels (“Inside Out 2,” probably “Toy Story 5”). The Disney-owned studio’s days of irrepressible innovation and unmatched imagination are well behind it. No one’s awed by anything anymore. “Coco,” almost 10 years ago, was their last new property to wow on the scale of peak Pixar.

Look, the new movie is likable and has a brain, heart and ample laughs. That’s more than I can say for most family fare. “A Minecraft Movie” made me wanna hop right out of the theater.

Movie Reviews

Review | Hoppers: Pixar’s new animation is a hilarious, heartfelt animal Avatar

Published

1 day ago

March 2, 2026

Press Room

4/5 stars

Bounding into cinemas just in time for spring, the latest Pixar animation is a pleasingly charming tale of man vs nature, with a bit of crazy robot tech thrown in.

The star of Hoppers is Mabel Tanaka (voiced by Piper Curda), a young animal-lover leading a one-girl protest over a freeway being built through the tranquil countryside near her hometown of Beaverton.

Because the freeway is the pet project of the town’s popular mayor, Jerry (Jon Hamm), who is vying for re-election, Mabel’s protests fall on deaf ears.

Everything changes when she stumbles upon top-secret research by her biology professor, Dr Sam Fairfax (Kathy Najimy), that allows for the human consciousness to be linked to robotic animals. This lets users get up close and personal with other species.

“This is like Avatar,” Mabel coos, and, in truth, it is. Plugged into a headset, Mabel is reborn inside a robotic beaver. She plans to recruit a real beaver to help populate the glade, which is set to be destroyed by Jerry’s proposed road.