Science fiction is not my thing—so hard to connect with for me. Plus, movies that have so many characters doing so many things can get confusing for me. That said, Dune: Part Two is the best mainstream film of the year so far. It’s bravura filmmaking by a master, and is the sleeker, smarter descendant of the Lord of the Rings trilogy.

Where to begin? The cinematography by Greig Fraser (The Batman, Zero Dark Thirty) is spectacular, reminding the viewer of both David Lean at his finest, and the best work of Peter Jackson—stunning landscape shots combined with medium shots and close-ups that are revelatory rather than simply arresting. The music is by the incredible Hans Zimmer (Oscars for Dune: Part One and  1995’s The Lion King, and nominations for Dunkirk, Interstellar, Inception, Gladiator, and Rain Man, among others). Zimmer’s work with Christopher Nolan is echoed here in the best way, as it works with all other production elements to create a Nolan-esque experience. There were moments when the music stood out, which isn’t a negative, but mostly the music is so intertwined with the cinematography, editing, and production design as to be a thread in a tapestry.

The production design is by Patrice Vermette (Oscar for his work on the previous Dune, shared with Zsuzsanna Sipos), and again, like the music, is of such a high quality as to threaten to stand apart from the whole, but doesn’t. The world-making here is so real, so engaging, that the viewer easily accepts what he sees without question.

left to right: Pugh, Chalamet, Zendaya

The acting is of such a level that, once more, it could stand apart from the film, as the acting does in The Blind Side, or The Eyes of Tammy Faye, or The Whale, but doesn’t. That could either mean that the acting is of such a mediocre quality in Dune: Part Two that it can’t stand apart, or that the acting, as good as it is, is integrated into the film as a whole, which is the case. What makes that statement such an anomaly and a cinematic triumph is that four of film’s best young actors have significant roles in the film, and three out of four of them have highly defined characters. (Future Oscar winners, IMHO) Timothée Chalamet, Zendaya, Austin Butler (Elvis) and Florence Pugh (Oppenheimer, Black Widow) are all featured, with only Pugh with a minor role here that doesn’t fully demonstrate her talent. (Perhaps, like Zendaya’s Chani, she will be more strongly featured in the next film.)

Chalamet has the hardest task, and his (spoiler alert) eventual turn isn’t entirely believable, but the shift is nearly invisible beneath the surface of a great young actor digging into a great role. Zendaya proves here that she can hold a film together, as she essentially does here. Of course her role is much greater than in the first film, but it’s not just screen time that gives her the weight in this film, but her quietly fierce performance. Her character often doesn’t say much, but you know exactly what she is thinking and feeling at all times.

Austin Butler’s presence is a bit of a shock for those that know him from Elvis and the mini-series “Masters of the Air”. He’s built up that thin physique of his as much as is humanly possible, and he becomes a frightening character that widens the world being built here, and gives us as rich a villain as Freddy or Jason. For an actor looking to a long career, he couldn’t have made a better career move. Pugh’s role here is minimal, but suggests a great presence in the next iteration. Rebecca Ferguson does more standing around here than in Part One, but locks down a character that could be relegated to insignificance in the hands of a lesser actress.

Oscar winners and nominees show up all over the place. Thanos Josh Brolin brings a strength and realism to his character that keeps the film from getting lost in fantasy. Charlotte Rampling (45 Years) has a career going back to 1965, and has grown into a great actress of not only talent, but authority on the screen. Her Reverend Mother Mohiam could have been simply creepy, but far exceeds that with this performance. I’m still not sure what I think about what Javier Bardem (No Country for Old Men) is doing with Stilgar’s character, but it never completely disassociates itself from the film. Christopher Walken can be a fine actor, which he is here, but his presence is a bit jolting when we shows up.  

Dave Bautista as Beast Rabban is…fine.

Director Denis Villeneuve has demonstrated a great talent over the years (Oscar nominations for co-producing Dune: Part One as well as co-writing it, and directing Arrival), one that is surprisingly short of nominations and wins. That season in his life should be over. This film is a triumph of weaving cinematic elements together into a coherent whole, and that is to Villeneuve’s credit. To pull out the performances that he does, to create the amazing world that exists here, to weave together sound and image and editing into such a comprehensive whole—this is the work of a master at his peak.

Quibbles are few: For someone like me, there are too many characters to keep track of, and I tend to give up on the story early in films like this, and just sit back and enjoy everything else. But there is so much to sit back and enjoy here. Again, the genre is not my cup of tea, but this is still the best film of the year so far.