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Josh Brolin

Dune: Massive Scale & Messianic Spirituality

October 21, 2021 by Steve Norton Leave a Comment

Never let it be said that Denis Villeneuve isn’t willing to take risks. After the financial disaster of critical darling Blade Runner 2049, one might have thought that the Canadian director would move on to smaller projects.

But why do that when you can tackle a complex work of science fiction with a history of failures onscreen?

Although adapted several times before, Frank Herbert’s 400-page sci-fi epic Dune has often been described as ‘unfilmable’ due to its incredible ambition and scale. However, Villeneuve has never been one to shy away from a challenge. Inching towards a three hour runtime, Dune seems like it could be almost overwhelming or impractical for audiences. (What’s more, its no secret that this is only the first half of the story as well.)

Even so, the experiment works. In taking this approach, Villeneuve has the opportunity to let the film breathe and allow its expansive storytelling and scale to unravel at its own pace. As a result, the film never feels like it’s unnecessarily cutting material for the sake of the runtime yet never really drags either. The director of such films as the vastly underrated Blade Runner 2049 and Arrival, Villeneuve has made a name for himself taking on material with multiple layers and massive landscapes and Dune certainly fits that description.

And to say that Dune operates on a massive scale is to put it mildly. 

Dune tells the story of Paul Atreides (Timothee Chalamet), a gifted young man who believes his destiny is to do great things. As the heir to the House Atreides, Paul is drawn into an interstellar conflict when his father Leto (Oscar Isaacs) attempts to negotiate the exclusive rights to mining a rare and essential natural resource on the planet Arrakis. As discussions move forward, tensions between the House Atreides are stalled when the brutal House Harkkonen attempt to take the resources for themselves. As a result, Paul finds himself caught between loyalty to his father and seeking the destiny that he believes lies before him.

Complex and expansive, there is little wonder why Herbert’s novel is held in such high esteem. The sheer audacity and scope of this piece is awestriking and really truly should only be seen in IMAX. (It’s obvious to see why Villeneuve would have balked at the proposal to release on HBO Max.) While the cinematography may not be quite as impressive as Deakins’ Oscar-winning work in Blade Runner 2049, there is no doubt that Dune is meant to make you feel insignificant against its landscapes. Deserts are expansive and dry. Planets of rain are feel as though they will be drench the audience. Every moment onscreen is constructed to emphasize that its characters are insignificant when compared to the immensity of their environments. 

Filled with creativity and detailed history, this is the sort of sci-fi epic that seeks to honour its source material by fully immersing you within its story. Similar to Game of Thrones, Dune is not a simple ‘good versus evil’ battle but instead becomes a deep political thriller with multiple sides, history and theology. As such, casual fans may need to be patient in order to find their way through at first. (Personally, I was unfamiliar with the material and it took me some time to feel like I fully grasped the relationships and tensions between worlds.) That’s not to say that the film doesn’t feature eye-popping special effects and enormous space battles. Villeneuve has some truly amazing visual action set pieces here as well. Instead, it is simply a caution that the film’s strong political emphasis can be overwhelming to the unfamiliar. 

As warring factions collide over their interest in ‘spice’, their interest truly lies in power and conquest. The primary propellant for space travel, spice also can extend human life and create super-human levels of thought. As a result, this strange material has become the most sought-after resource in the universe, initiating complicated political machinations in order to maintain control of its reserves. (It’s worth noting that Villeneuve seems to use this as a metaphor to echo the battle for oil in the Middle East.) To those involved, those who control the spice control the galaxy.

Complicating this battle is the Fremen, natives of Arrakis who live in the deep desert. To those who seek only the spice, they are viewed as helpless nomads that need the strength and might of their conquerors. However, it is clear from the outset that the Fremen require no protection. Confident, intelligent and well-organized, the Fremen have survived for centuries on their own amidst the dangers of the desert. Though viewed by the powerful as the ‘savages’ of the desert, in truth they have the greatest understanding of their world and how it operates. However, this matters little to their conquerors. Rather than take the time to learn about the Fremen, the people of Atreides and Harkkonen instead view them as obstacles that threaten their quest for power. Like so many victims of colonization before them, the Fremen are treated with disrespect by those who hold the military might and are therefore kept to the margins.

What’s most interesting about Villeneuve’s Dune though is its spiritual underpinnings. Unlike the cold cynicism of Blade Runner 2049, this is a world that has deeply theological roots that inform its culture with hope. From the authority of the Bene Gesseret to the underlying prophesy, Dune is very interested in imbuing its world with messianic themes. This becomes particularly true in the case of the culture’s view of Paul Atreides and his mother. Believed to be the ‘chosen one’, Paul’s relationship with the people of Atraxis reveals two differing worldviews. On the one hand, the two are held in reverence by those who believe. At the same time, they are kept at a distance by those who simply cannot fathom that this insignificant little man could be the one who has been prophesied about. (Echoing the Biblical narrative of Mary and Jesus, the comparisons to the New Testament journey of Christ are undeniable.) Despite their technological advancements and social systems, this is still a world waiting for something (or someone) more powerful that will give them hope and bring justice.

Bound to be divisive due to its long runtime and complex political landscapes, there will be those who feel they cannot connect with Dune. What’s more, its always a risk to make a film with the intent of future installments, especially for science fiction epics. However, Villeneuve’s Dune is one which deserves to be completed. Featuring expansive storytelling, landscapes and a cast that seems to contain almost everyone in Hollywood, Dune simply works. With deep affection for his source material and incredible skill, Villeneuve has yet again created a film which is both stunning and smart. Most importantly though, this story feels like it has something to say… but it simply needs the opportunity to finish its thought.

Dune is be available in theatres on Friday, October 22nd, 2021.

Filed Under: Featured, Film, Film Festivals, Reviews, TIFF Tagged With: Dave Bautista, David Dastmalchian, Denis Villeneuve, dune, Jason Momoa, Javier Bardem, Josh Brolin, Oscar Isaacs, Rebecca Ferguson, Stellan Skarsgard, Timothy Dalton, Zendaya

teenFish#3 – Telling Stories with ONCE UPON A DEADPOOL

January 13, 2019 by Steve Norton Leave a Comment

Have you ever really wanted to know what goes on in the mind of today’s teens? Not just ‘what are they thinking?’ but how they feel about life’s issues? About truth? About where God is in the world today? At long last, ScreenFish is proud to announce teenFish, a new podcast series that lets teenagers speak about media that matters to them in their own voice. Hosted by Daniel Collins (Infinity Warm-Up), teenFish will be air the first Sunday of every month and invite local youth to engage the truth and lies of the shows and films that excite them.

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With the release of ONCE UPON A DEADPOOL, the Merc with a Mouth steps for the first time into… a PG film? Previously released as DEADPOOL 2, this film trims the R-rated fat while adding some new Princess Bride-themed material (Fred Savage!) but does it still hold the same impact? This month, Daniel welcomes Jacob to talk about what they think about death and the meaning of family.

You can stream the episode above, on podomatic or on Spotify! Or, you can download the ep on Apple Podcasts, Google Play or more!

Filed Under: Film, Podcast, teenFish Tagged With: Deadpool, Josh Brolin, Once Upon A Deadpool, Ryan Reynolds, Zazie Beets

4.18 DEADPOOL 2 and the New F-Word

June 3, 2018 by Steve Norton Leave a Comment

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The Merc with the Mouth is back… and he’s got babies on his mind! In DEADPOOL 2, the hero without rules wants to settle down and start a family with Nessa, the love of his life. However, when tragedy strikes, Deadpool must try to rescue a young mutant who’s being hunted by Cable, a deadly assassin from the future. (Insert Terminator 2 joke here.) This week, Peter Adourian joins Steve to tackle the new F-Word (family), Deadpool’s cultural relevance and his God-complex.

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

4.18 Deadpool 2

Thanks Peter for joining us!

Filed Under: Film, Podcast Tagged With: Cable, Deadpool, Domino, Family, Josh Brolin, Moreno Baccarin, Ryan Reynolds, Wade Wilson, X-Force, X-Men

4.17 Mercy, Madness and Everything Else in AVENGERS: INFINITY WAR

May 25, 2018 by Steve Norton Leave a Comment

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As one of the biggest films in box office history, Avengers: Infinity War has definitely left its mark on pop culture but the real story of the film is its surprisingly engaging villain. In Thanos, Marvel has created one of its most compelling characters, maintaining intelligence with equal levels of insanity. As his power grows, so too does his brutality as creates disasters of Biblical proportions with a snap of his fingers. But, is there a method to the Mad Titan? Does he really believe himself to be God-like in power or is his legacy more noble than we realize? This week, Greg Banik stops by to speak with Steve about mercy, madness and everything in between.

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

4.17 Avengers Infinity War

Thanks Greg for joining us!

Filed Under: Film, Podcast Tagged With: Avengers, Avengers: Infinity War, Black Panther, Captain America, Chris Pratt, Disney, finger snap, God, Guardians of the Galaxy, Iron Man, Josh Brolin, Marvel, MCU, Star Lord, Thanos

Scenes From A Cinematic Weekend 10/23/17

October 24, 2017 by Chris Utley Leave a Comment

Hey SF’ers!  Trying something new so here goes:

  • Marshall w/Chadwick Boseman & Josh Gad:  They say that the opposite of the White Savior trope in film is the Magical Negro trope. Marshall clearly went full Magical Negro with Josh Gad’s character being the only lawyer allowed to try the case the film centers on.  A more compelling movie would have been watching Marshall defy the sea of racist White venom and beat a case against the odds. Way too much focus on the Josh Gad subplot to me.

  • BOO 2 was BAD, even by Madea/Tyler Perry standards. 20 minutes into it, I was half watching and half looking at my phone.  (Calm down movie theatre police – I was at a drive-in!)  No faith-filled or redeeming messages.  Honestly…the thing felt like a lame live action episode of Scooby Doo.   By the way, the audio overdubs that were supposed to drown out the cursing in this flick were HORRIBLE!  All those hecks, darns and friggins tells me that the uncut unedited version would have gotten a hard R.  I say to TP, don’t screw around with it next time. Let those F-bombs fly and let the church folks go up in arms!  Most of the ones who’d protest are avid Scandal watchers anyway where Cursing: Bad and Adultery: Good.

  • Shame Only The Brave didn’t find an audience.  Very good telling of the story of the Granite Mountain Hotshots with themes of brotherhood, sacrifice – both at home and in the fire path – and redemption.  No Oscar prospects but this’ll find it’s proper audience in Redbox and streaming platforms.

  • Glad to have celebrated my 45th bday on Saturday.  I look and feel 35!  But I’m thankful to God for my wife and kids, my ScreenFish family for enduring me & my love for movies!

Well, that’s it.  Hopefully y’all will enjoy this.  If so, there will be more to come! ✌🏿

Filed Under: Film, Reviews Tagged With: BOO 2, Chadwick Boseman, James Badge Dale, Jeff Bridges, Jennifer Connelly, Josh Brolin, Josh Gad, Madea, Marshall, Miles Teller, Only the Brave, Taylor Kitsch, Tyler Perry

Hail Caesar!: Hello, Hollywood

June 7, 2016 by Jacob Sahms Leave a Comment

hailcaesar

We are all looking for something until we find it. With their typical humor and wit, the Coen Brothers have delivered a film about the quest for that thing (whatever it may be) for a cast of characters ripped out of 1951 Hollywood, with its Communists, Cold War, and economics. And, as can’t be ignored, it sports a long line of A-list and B-list actors to poke fun at itself all while romping around California.

Michael Gambon narrates, but Josh Brolin’s fixer Eddie Mannix is the story’s glue. He’s supposed to solve studio problems when stars get into trouble, whether it’s taking inappropriate pictures in studio costume, drinking too much and skipping shots, or, in the case of Baird Whitlock, getting kidnapped by Communists. But while Mannix is our viewpoint, he’s not really in control, because, well, no one is.

hailcaesar4Hobbie Doyle (Aiden Ehrenreich, who is about to be Han Solo the younger) is a singing cowboy who wants to be taken seriously. Laurence Laurentz (Ralph Fiennes) is a big time director who can’t get the actors he wants, but settles for training those he has. DeeAnna Moran (Scarlett Johansson) is the bombshell who is pregnant but who can’t give up the baby and won’t get married at Mannix’s assistance. Burt Gurney (Channing Tatum) is… more than meets the eye.

It’s all a bit much. But the Coen Brothers delivered Raising Arizona, Fargo, The Big Lebowski, O Brother, Where Art Thou?, and Burn After Reading, so it’s not just the over-the-top violence they know how to wrangle. This is period-piece work, and clever, but it’s the kind of funny that doesn’t generate many laugh out loud moments, just shakes of the head. (One of the many ironies is seeing the way that Hollywood is being critiqued by some of its biggest stars who play its biggest games…)

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In one early scene, Mannix tries to run the script of a film by a rabbi, a Protestant minister, and a Catholic priest. He wants to know if the portrayal of Jesus is offensive, but the men are more inclined to tell him that they think the chariot chase is ridiculous. Mannix wants to know that the film will not be offensive to “any American regardless of creed,” which in itself is ironic and ridiculous: Jesus was and still is offensive to people because of what he taught, but to Hollywood, there’s an expectation that Jesus can be watered down until everyone who accept that version of Jesus. Unfortunately, many churches do that, too, right?

Special features on the Blu-ray include a look at the Coens’ intentions in “Directing Hollywood,” the cast’s response in “The Stars Align,” and the setup to the glamour and glitz in “An Era of Glamour” and “Magic of a Bygone Era,” with cast, crew, costumes, and set.

Filed Under: DVD, Film, Reviews Tagged With: Channing Tatum, Coen Brothers, George Clooney, Jonah Hill, Josh Brolin, scarlett johannson

Hail, Caesar – Golden Days of Hollywood a la Coen Brothers

February 15, 2016 by Darrel Manson Leave a Comment

“Would that it were so simple.”

The Coen Brothers’ Hail, Caesar is an entertaining look at the old Hollywood Studio System with a load of insider references. (I would love to have a Cliff Notes type of resource to identify all those references.) But like nearly all of their films there is more here than just the good time we have watching it.

Set in the 1951 at Capitol Pictures (the same fictitious studio as in their film Barton Fink), the film spends a day following Eddie Mannix (Josh Brolin), the studio head, as he spends his days and nights dealing with one problem after another: a starlet being taken advantage of by a photographer, the choreograph film extravaganza star (Scarlett Johansson) is pregnant but unmarried, rival twin gossip columnists (Tilda Swinton) out for a scoop, a singing cowboy (Alden Erhenreich) who has been pushed into a high society role under an acclaimed director (Ralph Fiennes), and the kidnapping of the star (George Clooney) of a biblical epic (from which the film gets its title) that is nearly done filming. All of this gives the film a chance to look at the various film genres of the day. If you’ve wondered how the Coen Brothers would have made a Gene Kelly dance film or an Esther Williams swimming number, you get a glimpse in Hail, Caesar.

Because Mannix is so good at solving the never ending stream of problems, he is being recruited by Lockheed Corporation. They offer him more money, better hours (he never seems to sleep, and only gets a few moments with his family), he would be working for national security rather than dealing with the crazy Hollywood scene. It seems like a no-brainer, but he is hesitant. A clue as to his reasons might be seen in the way the film is bookended by two trips to confession. This is a daily occurrence for Mannix where he confesses minor sins (like lying to his wife about quitting smoking). He is trying to be a good person, even though he may be skirting some of the morality of the day. When he seeks the priest’s advice about changing jobs, the advice the priest gives him is “God wants us to do what’s right.”

That is very close to the essence of many of the Coen Brothers’ films: what does it mean to be a good person. Among their earlier films that look at that question are Raising Arizona; Fargo; The Hudsucker Proxy; O Brother, Where Art Thou; The Man Who Wasn’t There, and A Serious Man. In these films people do things that may or may not be good. It always seems to come down to that advice from the priest of doing what is right. That is the issue that Mannix faces in everything he does. It is then up to us to decide if he succeeds in being the kind a man he wants to be.

 

Filed Under: Film, Reviews Tagged With: Alden, biblical epic, Coen Brothers, comedy, dancing, Erhenreich, Ethan Coen, George Clooney, Joel Coen, Josh Brolin, Ralph Fiennes, Scarlett Johansson, Tilda Swinton

TIFF Hits: Shooting Stars

September 15, 2015 by Steve Norton Leave a Comment

 

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At ScreenFish, we’re very conscious of those moments where faith and film collide… but that doesn’t mean we can’t have a little fun as well!  Here are some exclusive shots of the celebs around the city as the Toronto International Film Festival enters it’s second half.  Pics will be updated as new sightings occur…

Black Mass premiere:

Johnny Depp

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Joel Edgerton

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Peter Sarsgaard

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Kevin Bacon

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John Morris                                           Dakota Johnson

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Freeheld Premiere:  Michael Shannon, Ellen Page, Julianne Moore, dir. Peter Sollett

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Sicario Premiere:  Benicio Del Toro, Emily Blunt, Josh Brolin, dir. Denis Villeneuve

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Forsaken Premiere: Donald Sutherland, Keifer Sutherland, d. Jon Cassar (24)

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Team from Beast:  Chad McKinney, dir. Tom and Sam McKeith, Garret Dillahunt

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The Man Who Knew Infinity:  Jeremy Irons; Dev Patel; Devika Bhise

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Other Celebs:

Penelope Cruz

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Sarah Silverman

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Susan Sarandon                                  Rachel McAdams

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Nick Robinson

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Rob Reiner                                           Carey Elwes                                         Michael Moore

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Filed Under: Current Events, Film, News, TIFF Tagged With: 24, Benicio Del Toro, Black Mass, Carey Elwes, Chad McKinney, Dakota Johnson, Denis Villeneuve, Donald Sutherland, Ellen Page, Emily Blunt, Forsaken, Freeheld, Garret Dillahunt, Joel Edgerton, John Morris, Johnny Depp, Jon Cassar, Josh Brolin, Julianne Moore, Keifer Sutherland, Kevin Bacon, Michael Moore, Michael Shannon, Nick Robinson, Penelope Cruz, Peter Sarsgaard, Peter Sollett, Rachel McAdams, Rob Reiner, Sam McKeith, Sarah Silverman, Susan Sarandon, Tom McKeith, Toronto International Film Festival

TIFF Hits: SICARIO

September 12, 2015 by Steve Norton 1 Comment

sicarioBelieve the hype.

Since it’s debut at Cannes several months ago, Canadian filmmaker Denis Villeneuve’s latest film, Sicario, has garnered a great deal of buzz.  If you haven’t heard of Villeneuve, you will.  He’s quickly becoming one of Hollywood’s brightest directors, having broken through with intense dramas like Prisoners and Enemy.  (He’s also been chosen to direct the sequel to Blade Runner as well.) With Sicario, he continues his hot streak, telling a tightly woven narrative that literally has you gripped from beginning to end.  What’s more, the film is shot by cinetamagraphy legend, Roger ‘Someone Please Give This Guy an Oscar’ Deakins who beautifully stalks the action with the camera.

Sicario tells the story of Kate Macer (Emily Blunt), a DEA agent who is brought in to support a team of special ops led by Josh Brolin as they attempt to take on Mexican drug lords.  Blunt describes Kate as “the audience’s surrogate” as we participate in this unfolding drama through her own inexperienced eye.  The story is gritty, honest and seeks to reveal a lifestyle and world that is completely foreign to most of us.  Brolin addresses this issue when he says “this situation is so close to home.  We all talk about ISIS but the [problems] are right here.  It’s our neighbor.”

Most interestingly is the ethical balance that plays out between the film’s lead characters.  Blunt feels that Kate is “a moral character in an amoral world” as she attempts to come to grips with the travesties around her. However, this leads very quickly into conversation about whether or not it’s truly possible to do what is right in the face of insurmountable violence and evil.

Sicario is a riveting drama that doesn’t make that question easy to answer.

But it’s going to make you ask.

 

Sicario (rated R for violence, language and disturbing images)

Starring Emily Blunt, Josh Brolin, Benicio Del Toro

d. Denis Villeneuve

***** (out of five)

Filed Under: Current Events, Film, Interviews, News, Reviews, TIFF Tagged With: Benicio Del Toro, Blade Runner, Denis Villeneuve, Emily Blunt, Josh Brolin, Prisoners, TIFF

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