"Dune" is the space opera epic of the season — but is it good?

Based on the first half of Frank Herbert’s best selling sci-fi novel of the same name, the film combines the trademark scale of its genre with elements of medieval and Arab culture to create a deeply immersive viewing experience. But "Dune" struggles when the overly spiritual lore of its source material takes the spotlight, and much of its dazzle is really a reflection of modern man's search for
the supernatural. 

The year is 10191, and noble houses have colonized planets across the universe under the watchful eye of a galactic emperor. Timothée Chalamet plays the main character, a young prince named Paul Atredies, who is set to inherit a desert planet that holds the key to space travel. Suffice it to say that conflict arises and our prince charming is forced to grow up real fast. Unfortunately, this solid premise is quickly soured by the film’s attempt at spirituality. 

Slowly but surely, Paul is revealed as the “messiah” prophesied to bring “paradise” to the native people of the planet. The natives, called Fremen, semi-nomadic folk who look more Arab than futuristic, recite prophecies he fulfills like Bible verses. The important role of visions in the story only adds to the effect. Zendaya, the subject of these visions, spends the little screen time she has guiding Chalamet to his final destination, by which I mean she casts a lot of alluring looks at the audience in glorious slow-motion. Her ethereal presence is like that of a holy spirit ministering to the protagonist as he journeys through the desert wilderness. 

When not trying to playact Christianity, the film pours its $165 million budget into world-building, and what a world it is: sandworms the size of skyscrapers swallow ships whole and rip through desert plains with ease; futuristic armies fight hand-to-hand by the light of a burning city; and all of it against the backdrop of Hans Zimmer’s bone-rattling score (fans of the 2014 space epic "Interstellar" will recognize his blaring, portentous music). The technical know-how and artistic vision required to do what director Denis Villeneuve has done leaves no doubt as to why previous adaptations of Herbert's novel have failed.

The director’s big ambitions are supported by a strong cast. Timothée Chalamet gives a grounded and convincing performance: you can feel the duress he is under as heir to a bloody throne, and the hardness that enters his voice as he weathers death and betrayal doesn’t seem forced. Rebecca Ferguson does well in her supporting role as Paul’s mother, Lady Jessica, a modern-day Mary caught up in her son’s antics. While Zendaya played a minimal and rather forgettable role, contrary to what the trailers would have you believe, the film is the first of two parts, so we can expect to see more of her character in the future. 

Throughout "Dune," it felt as if the insane visuals and score overpowered the actors' more subdued performances, which, along with some dense lore, made the plot a little hard to follow. And the spiritual elements seemed to go beyond what happened in the book, as if the filmmakers were more interested in creating a supernatural experience than good entertainment. (More likely they were just struggling to squeeze the essence of 400 pages into 156 minutes, but it still felt that way). Taken together, the film left me awestruck but also a bit dazed, like a drunk man stumbling out of a pub. Let’s hope the DVD version is a more relaxing watch.