‘F1: The Movie’ Brad Pitt Blockbuster Spins Its Wheels 

‘F1: The Movie’ Brad Pitt Blockbuster Spins Its Wheels 

By Alex McPherson

Loud, exciting, and about an hour too long, director Joseph Kosinski’s “F1: The Movie” coasts on Brad Pitt’s starpower and bursts of directorial panache within a narrative framework that leaves deeper thought in the dust.

Kosinski, who previously directed 2022’s excellent “Top Gun: Maverick,” opts for a similar story yet again — an aging professional past his prime coming back into the fold to mentor the next generation and conquer deep-seated traumas, looking effortlessly cool while doing so. 

Sonny Hayes (Pitt) was once a Formula One prodigy with his teammate and buddy Rubén Cervantes (Javier Bardem). Sonny suffered severe injuries from a crash at the Spanish Grand Prix, which promptly took him out of commission. In the following years, Sonny embraced a nomadic lifestyle, going through three divorces and becoming a gambling addict living in a trailer. He travels from race to race seeking that ineffable high he gets from driving really fast and really dangerously. 

After Sonny wins the 24 Hours of Daytona, Rubén shows up and offers (practically begs) him to join his F1 team, “APXGP,” and fill a spare seat that’s been turned down by several other drivers. The team’s life and Rubén’s career are in jeopardy.

Rubén discloses that the investors will sell the team if they cannot win one of the year’s nine remaining Grand Prix — and Rubén instructs the quietly arrogant Sonny to mentor the young rookie Joshua Pearce (Damson Idris). 

Sonny, enticed by the possibility of becoming “the best in the world,” signs onto APXGP. Despite his skills behind the wheel, Sonny quickly discovers that he’s in over his head, and that his mentee-turned-rival Joshua isn’t exactly enamored with cooperation.

Joshua sees Sonny as another obstacle to overcome in his own search for glory in the sport and in the public eye. Sonny also meets the determined team technical director Kate McKenna (Kerry Condon), and, surprise!, they’re quickly drawn to each other.

But Sonny’s technique around the track is unconventional and unsuccessful from the jump, instilling doubt in Rubén and the team’s smarmy investors. Can Sonny adapt, cooperate, and achieve the victory he craves, maybe scoring a new girlfriend along the way? Can Joshua learn to look beyond himself and see the bigger picture? Should we expect any sort of substantial dramatic arc for any of these characters?

The answer to that last question, in the case of “F1: The Movie,” is a resounding “no.” And that’s perfectly fine — the film delivers the expected blockbuster goods (thrilling racing sequences, beautiful people looking cool, the cable-ready “Dad Movie” appeal).

What’s missing, though, is a tangible identity, rendering Kosinski’s film a well-oiled PR stunt for Formula One, and for Pitt himself, draped in appealing Hollywood sheen that remains undeniably easy to watch.

Pitt, like Tom Cruise, is a bonafide movie star, and “F1: The Movie” gives him plenty of opportunities to look like a badass and inject some verve into Ehren Kruger’s earnest and cornball screenplay. Pitt brings a weathered melancholy that suits Sonny’s character well. Bad Boy instincts collide with self-doubt and a spiritual emptiness that only resolves behind the wheel. 

If only Kosinski and Kruger were willing to swerve in more interesting directions with his character. “F1: The Movie” is largely content to go through the motions, brushing over some potentially compelling yet unexplored aspects of Sonny while painting some uncomfortable parallels between Sonny’s controversial history and Pitt’s own. Indeed, one wonders if the requisite victory at the film’s conclusion is actually for Sonny or for Pitt.

The rest of the ensemble brings requisite charm — especially Condon and Sarah Niles as Joshua’s mother. However, the actors can only do so much with characters more resembling cutouts than three-dimensional people.

Idris embodies Joshua’s swagger and egotism effectively, but“F1: The Movie” still paints Joshua’s story in broad strokes, often undercutting character development through music video-esque montages backed by Hans Zimmer’s (admittedly invigorating) techno score.

Fortunately, most viewers go into “F1: The Movie” looking for spectacular racing sequences, and Kosinski — partnering again with cinematographer Claudio Miranda — does not disappoint.

The film’s races (mini stories themselves within the larger narrative) were filmed during actual Formula One races, with Pitt and Idris behind the wheel, and with a new camera system pioneered by Miranda that puts viewers in the cockpit with them, aiming to capture an unmatched sense of speed and immersion. 

This succeeds, for the most part, although Stephen Mirrione’s editing cuts from shot to shot with a tempo that prevents us from fully getting into drivers’ headspaces. The near-constant racing commentary and reaction shots (outright explaining what’s happening on-track, along with some “interesting” intricacies of the sport) also break up the action to a distracting degree, falling into workmanlike tropes that pull away from the film’s experiential achievements. Still, it’s enjoyable to watch these sequences in a theater — in a handful of scattered moments, “F1: The Movie” roars like summer blockbusters should.

Yet Kosinski’s film couldn’t exactly be called “memorable,” nor particularly successful aside from its technical prowess. “F1: The Movie” ultimately lacks what “Top Gun: Maverick” has in spades: heart.

“F1: The Movie” is a 2025 sports action drama directed by Joseph Kosinski and starring Brad Pitt, Damson Idris, Javier Bardem, Kerry Condon, Shea Wigham, Tobias Menzies, Samson Kayo, and Sarah Niles. It is rated PG-13 for strong language and action and its runtime is 2 hours 35 minutes. It opened in theatres June 27. Alex‘s Grade: C+  

‘F1: The Movie’ Spotlights the ‘Need for Speed’ Breed in Action Spectacle

‘F1: The Movie’ Spotlights the ‘Need for Speed’ Breed in Action Spectacle

By Lynn Venhaus

The star power of Brad Pitt combines with the adrenaline rush of Formula 1 racing for an entertaining but strictly-by-the-numbers summer blockbuster.

The turbo-charged technical mastery lifts “F1: The Movie” as a classic underdog-redemption sports drama that follows a standard, if formulaic, template. The thinly written story offers little surprise amidst the turmoil of risk vs. reward, a grizzled veteran clashing with a cocky kid, and whether fun or finance should be the prevailing motivator.

The story follows Sonny Hays (Brad Pitt) as a former Formula 1 driver who is convinced to come out of retirement by his old pal Ruben (Javier Bardem), now owner of a struggling Formula 1 team, to mentor a hotshot rookie Joshua Pearce (Damson Idris). It’s 30 years later and the road to redemption is a rocky one.

A sterling cast supports this star vehicle, and brings authenticity to their roles, which makes it watchable. Oscar winner Javier Bardem is his customary captivating self as APXgp team owner Ruben Cervantes while Oscar nominee Kerry Condon plays Kate McKenna, a smart, feisty technical director whose knowledge of physics has served her well in aeronautics and racing.

Damson Idris fits the promising young talent mold, and while there are many supporting players, Tobias Menzies is memorable as board member Peter Banning, Samson Kayo is Pearce’s manager, and Sarah Niles is a charmer as Joshua’s mother Bernadette. (If you know you’ve seen her but can’t quite place where, she played Ted Lasso’s therapist Dr. Sharon Fieldstone (and scored two Emmy nominations).

Director Joseph Kosinski, who helmed the crowd-pleasing “Top Gun: Maverick” two summers ago, must have been so focused on capturing the thrills that he neglected the emotional sustenance that strong storytelling provides.

He and screenwriter Ehren Kruger, Oscar nominees for the “Top Gun: Maverick” adapted screenplay, collaborated on the cliché-riddled story, which is disappointingly predictable. Kruger, who wrote the “Transformers” sequels, should know his way around a blockbuster.

Nevertheless, the likeable actors are invested in the intensity of these athletes in training and competition.

 Those unfamiliar with the professional auto racing circuit will get a stunning glimpse of fancy racetracks around the world.

Is Sonny Gray a has-been or a never-was? Oscar winner Pitt, now 61, is in his element playing this once-promising hotshot who lost his mojo after a horrific crash and wound up never jump-starting his career.

Pitt is always at his best when he’s a tarnished golden boy. He suits the role of a lone wolf beaten down by life. Through his subtle expressions, you can tell this weathered guy, who is now a racer-for-hire living out of his camper van, has emerged sadder and wiser from Hard Knocks University.

He still tries to be relevant after learning harsh life lessons. With a tawdry laundry list of mistakes made either by gambling or from bad romances (three failed marriages), Sonny seeks another chance to get it right.

Sound familiar? Absolutely. Pitt’s Sonny works his unconventional maverick confidence but also carries around a lot of baggage. He shrugs, he swaggers, he says pithy phrases that motivate people — or quickly shuts them down. A man in motion, he runs – and inspires others.

He’s a betting man, but would he bet on himself?

The movies “Grand Prix” in 1966 and “Le Mans” in 1971 established racing as a compelling action-adventure, even with what was considered state-of-the-art back then, and then “Rush” in 2013 and “Ford v Ferrari” in 2019 surpassed them with high-stakes racing.

This has an old-school escapist feel, although the modern scenario is never in doubt, with social media ‘engagement,’ cell phone usage, and the wall-to-wall product placement palooza.

Cinematographer Claudio Miranda, who last shot the shimmering seascapes of “Nyad,” captured the dizzying spectacle while editor Stephen Mirrione ramped up the stakes and the suspense, heightened by Hans Zimmer’s propulsive score.

Overlong at 2 hours and 35 minutes, you’ll feel like you’ve been driving all night on a road trip. Sure, the action is zippy and immersive. But “F1: The Movie” unfortunately doesn’t have the oomph in the surrounding story on the same level as the vroom-vroom zooming.

“F1: The Movie” is a 2025 sports action drama directed by Joseph Kosinski and starring Brad Pitt, Damson Idris, Javier Bardem, Kerry Condon, Shea Wigham, Tobias Menzies, Samson Kayo, and Sarah Niles. It is rated PG-13 for strong language and action and its runtime is 2 hours 35 minutes. It opened in theatres June 27. Lynn’s Grade: B-.

The Son Rises In Enthralling, Massive Sci-Fi Spectacle ‘Dune: Part Two’

The Son Rises In Enthralling, Massive Sci-Fi Spectacle ‘Dune: Part Two’

By Lynn Venhaus

A masterful melding of massive spectacle, heartfelt high-stakes performances, and astonishing visual artistry, “Dune: Part Two” expands the mythic hero’s journey to its full potential.

After the global embrace of “Dune” in 2021 as a stunning adaptation of Frank Herbert’s 1965 book, considered the best-selling science fiction novel of all-time, the sequel has been highly anticipated to complete the first book on screen.

Part Two chronicles the novel’s second half, which follows a feudal interstellar society in a galaxy far, far away. At this time, while seeking revenge against the conspirators who destroyed his family, Paul Atreides (Timothee Chalamet) unites with Chani (Zendaya) and other Fremen. Forced to make either a personal choice or save the fate of the known universe, he endeavors to prevent a terrible future only he can foresee.

While it’s more riveting because of the whole picture, there could always be further character development due to its gigantic scope – nevertheless, the entire arc’s lucidity is much improved here.

In the first’s attempt at world-building, the narrative was largely unwieldy. However, no one could deny its mesmerizing grand-scale wizardry. (A second viewing really helped sort out the planets and houses).

Now that we are familiar with the desert wasteland Arrakis, the risks between the warring dynasties are made clearer. That is, for those of us who didn’t read Herbert’s first novel (or the other five in the “Dune” series).

‘Spice,’ the most precious resource in this universe’s existence, spurs the malevolent forces who want to control its extraction in Arrakis, because it is necessary for space navigation and its multidimensional awareness and foresight properties.

By picking up where the first left off, this second part effectively ties up loose ends, and deepens what is at stake. The focus narrows on young Paul Atreides, who must grow from an unseasoned boy, without his royal father to guide him, into the man he needs to become. Sacrifices must be made, and he continues to manifest his future in visions/dreams.

The religious and political implications of whether he is fulfilling a prophecy is what makes for propulsive viewing. The screenplay, co-written by director Denis Villeneuve and Jon Spaihts, contains requisite bombastic and brutal confrontations, but also includes sincere intimate moments that give the film its beating heart.

To that end, all the actors in this finely-tuned sprawling ensemble bring their A game, but Chalamet discernibly takes the reins – and without question, has come into his own as Paul.

It’s an emotionally charged turn, as he conveys a range of feelings, tormented by the burden of expectations and the challenge of learning ways to survive, especially conquering fear. As he notably rises above the pressures, his brooding Paul summons a strength that is exhilarating to watch.

Chalamet is fully invested as the gifted heir of the noble house of Atreides, who saw nearly everyone he cared about massacred. As the Harkonnen sharpen their attacks, Paul, who escaped Caladan with his mother to find refuge in Arrakis, is aided by the Fremen so that his people, and his family, have a future.

Whereas in the first, he was a blank slate “to the manor born,” and being groomed to take over. He accepted his duties, although reluctantly. But now, it’s urgent that he ascend into this pre-ordained role, and the question looms about his readiness. So far, he’s demonstrated heroic bravery and fierce loyalty, and must believably transform to meet the moment.

Now called “Usul,” or “Muad’Dib,” the Fremen respond to him with reverence – if they believe he is their savior. There are skeptics, though.

His mother, Lady Jessica (Rebecca Ferguson), becomes a Reverend Mother, and has a more fully developed role, steering her son towards his destiny and acting mysteriously as she prepares for the birth of her second child, a daughter. Ferguson is shrewdly alert and misses nothing as Leto’s widow.

Zendaya is more prominent as well, as Chani, a devoted and fearless Fremen warrior. Paul, a nobleman, is everything she has previously despised, but admiring his derring-do, they fall in love. That, of course, is complicated, and the two become a dynamic duo. Now bona fide movie stars, the camera loves both actors.

Also given more heft is venerable Javier Bardem as the courageous and wise Stilgar, who becomes a mentor and protector of Paul, fully believing that he is the next Messiah “as written.”

In a spellbinding scene pitting man against “a grandfather” sandworm that is one of cinema’s most astounding ever, Paul wins over a majority of Fremen. This is the money shot folks will be talking about for a long while.

Bardem is terrific, and so is Josh Brolin, who returns as brawny Gurney Halleck, the war master of the House of Atreides, who is one of Paul’s trusted advisors. Noteworthy, too, is Souheila Yacoub as Shishakli, a powerful Fremen sandrider.

On the dark side, a hulking, menacing Dave Bautista rages as Beast Rabban, part of the ruthless Harkonnen House, never to be trusted, and Stellan Skarsgard is a slimy and treacherous baron, a grotesque cross between Jabba the Hut and Palpatine in the “Star Wars” universe.

New to the story is a mind-blowing Austin Butler as the diabolical Feyd-Rautha, the baron’s cruel nephew and heir apparent. A cunning psychopath, the na-baron is imposing physically, and Butler’s transformation is startling. He proves that he is no one-trick pony after his breakthrough Oscar-nominated role as Elvis in Baz Luhrmann’s biopic last year.

Another new wrinkle is Florence Pugh as savvy Princess Irulen, daughter of the scheming emperor, smartly played by Christopher Walken. Pugh is properly regal, and while she only has one scene with her “Little Women” suitor Chalamet, it’s a showcase for all – the battle royale.

The cast serves the complexities of the characters well, we care more about their fates, and while the uninitiated might not understand all the elements at play, this trajectory is much smoother with this second helping.

Villeneuve establishes himself as a true visionary here – while I’ve enjoyed many of his films (“Blade Runner 2049,” “Arrival,” “Sicario” among them), and he is a meticulous craftsman, this is the first time I understood his fully realized end game, how the storytelling rose to the level of the visual effects.

If “Oppenheimer” is Christopher Nolan’s magnum opus, then “Dune: Part Two” is Villeneuve’s. What is impressive about both directors is their desire to create cinematic experiences, films that demand big-screen viewings because they fill the screen with wonder.

It was also smart to delay the sequel’s release date from November because it becomes the first welcome and sorely needed blockbuster of 2024. Mark my words, if “Dune: Part One” won six Oscars two years ago (original score, sound, film editing, cinematography, production design and visual effects), clear the trophy case for this latest during next year’s awards season.

The mythology’s epic scale is presented in a next-level, state-of-the-art artisanal way. Oscar winner Greig Fraser’s cinematography again dazzles with his panoramic planetary landcapes, scary sandworm eruptions, and grisly gladiator confrontations.

Production designer Patrice Vermette has created eye-popping worlds distinguishing each planet and house. Hans Zimmer’s stirring music effectively underscores the action and enhances the moods.

The first film was 2 hours and 35 minutes, and this follow-up adds 11 minutes, but didn’t detract. It certainly sets up an eager anticipation for “Dune: Part 3,” which is supposedly in the works, and will be based on the second novel, “Dune: Messiah.”

Villeneuve’s “Dune” series is the most successful to date for the devoted fan base. Filmmaker Alejandro Jodorowsky attempted a film adaptation in the 1970s but was cancelled after three years in development. Then David Lynch made a complex adaptation in 1984, which was not well-received, although fans were receptive to a Sci-Fi Channel miniseries in 2000.

With its breath-taking and jaw-dropping visuals and big-stakes bravado, “Dune: Part 2” is an enthralling cinematic marvel that we can both admire and enjoy.

“Dune: Part Two” is a 2024 science fiction action-adventure directed by Denis Villeneuve and starring Timothee Chalamet, Zendaya, Rebecca Ferguson, Austin Butler, Javier Bardem, Josh Brolin, Florence Pugh, Christopher Walken, Dave Bautista, Stellan Skarsgard and Charlotte Rampling. It is rated PG-13 for sequences of strong violence, some suggestive material and brief strong language, and its runtime is 2 hours, 46 minutes. It opens in theatres March 1. Lynn’s Grade: A.

‘The Little Mermaid’ Is An Above Average Remake That’s Not All Smooth Sailing

‘The Little Mermaid’ Is An Above Average Remake That’s Not All Smooth Sailing

By Alex McPherson

Elevated by a magnetic performance from Halle Bailey, director Rob Marshall’s “The Little Mermaid” neither wows nor underwhelms — a film that’s far from essential, but one that provides light, comforting entertainment. 

Retelling the story from the 1989 animated version, this live-action iteration follows Ariel (Bailey), a courageous, rebellious mermaid and youngest of several sisters, who’s deeply curious about the surface world and dissatisfied with her life underwater. With her fish pal Flounder (Jacob Tremblay) in tow, Ariel collects human artifacts to store in her grotto among the coral — her collection is a reminder of a world she’s eager to explore and held back from reaching. Ariel’s father, King Triton (Javier Bardem), refuses to let her have any contact with humans. He instructs his right-hand-crab, the wry-yet-soft-hearted Sebastian (Daveed Diggs) to keep her out of trouble (spoiler alert: he soon takes Ariel’s side). 

Ariel, with an adventurous spirit and desire for freedom, stumbles upon Prince Eric (Jonah Hauer-King), the new leader of an island nation somewhere in the Caribbean who wishes to expand the kingdom and is discouraged by his mother (Noma Dumezweni). Ariel falls in love with him at first sight. After a violent storm ruins his raucous birthday celebrations, Ariel saves him, dragging him to safety on his island’s beach, singing her siren song to keep him alive.

“Kiss the Girl”

 Back underwater, Ariel can’t stop thinking about him (and vice versa), which attracts the attention of “the sea witch” Ursula (Melissa McCarthy), Triton’s sister who was previously exiled from the kingdom. Conniving and fueled by resentment, Ursula makes a deal with Ariel to transform her into a human for three days in exchange for Ariel’s siren voice. If she can share a “true love’s kiss” with Eric within those three days, she can remain a human permanently. If not, she’s under Ursula’s control, and will be used as ransom for Triton’s all-powerful trident. More complications arise, putting the pressure on Sebastian, Scuttle the seagull (Awkwafina), and, to a lesser extent, Flounder, to ensure the kiss comes to fruition, and help Ariel achieve her dreams.

Songs, romance, drama, and more songs ensue. Yes, this is certainly “The Little Mermaid,” so viewers expecting a massive departure from the previous film will be let down. Marshall’s film is another example of studios pandering to nostalgia rather than offering a meaningful reimagining of what’s come before. Taken on its own terms, though, the new “Little Mermaid” is still an amiably enjoyable watch — a story of love, independence, cultural understanding, and growing up that’s kept afloat by confident performances and directorial flashiness.

Bailey absolutely nails the role of Ariel — bringing to life her daring spirit and lovable stubbornness with an enchanting mixture of bravery and deep yearning for new horizons. Ariel is a (slightly) more layered protagonist this time around. She sees Eric as not only a good-looking hunk, but as a kindred spirit in search of freedom from tradition, which Marshall emphasizes through their nerdy, cute interactions with each other — they’re each fascinated with each other’s knowledge of the world beyond their homelands. 

Melissa McCarthy as Ursula

Bailey conveys Ariel’s longing and naivete in a fairly grounded fashion: the songs function as an extension of her inner thoughts, allowing for some impressively emotional moments, particularly during her renditions of “Part of Your World” and “For the First Time” (one of the several new tunes scattered throughout). It’s clear from the outset, however, that Bailey has the acting chops for a more dramatically rich take on Ariel’s story than Marshall’s film provides. She breathes exciting new life to the heroine nevertheless.

McCarthy is campily over-the-top as the fiendish squid Ursula, with her undulating tentacles and booming delivery, giving a no-holds-barred performance that’s both funny and menacing. Diggs is amusing as Sebastian (nailing his new-ish take on “Under the Sea”), sassy and witty. Awkwafina is serviceable as a seagull willing to rap if need be (Lin Manuel-Miranda’s writing hand is keenly felt), and Bardem’s talents are underused as King Triton — an oddly subdued performance conveying Triton’s anxiety and fear for Ariel’s well-being, albeit lacking gravitas.

Hauer-King is perfectly fine as Prince Eric, notwithstanding one ho-hum musical number, but “The Little Mermaid” doesn’t give him enough depth or personality to stand out among the others. The film makes an effort to more clearly paint parallels with his goals and aspirations with Ariel’s, yet the gesture comes across as more manufactured than organic — attempting to sand down the less-polished aspects of their bond from the 1989 film, as opposed to a true expansion.

Javier Bardem as King Triton

In terms of visuals, “The Little Mermaid” is hit-or-miss. Dion Beebe’s cinematography shines when gliding through environments in time to the music — bringing all manner of aquatic creatures to the stage during “Under the Sea” in a dazzling display of CGI-heavy showmanship — and during some impressively smooth scene transitions, such as one in which the camera travels through the eye of a moray eel into Ursula’s cavernous lair. What isn’t as successful is the look of the non-human characters themselves. Heads awkwardly sit on bodies and hair undulates distractingly; far easier to represent through animation than live-action. Regarding Flounder, Sebastian, and Scuttle, there’s an awkward tug-of-war between realism and fantasy, to middling effect.

Indeed, this reflects the film’s greatest flaw. “The Little Mermaid” is solid, family-friendly entertainment, but with a talent as strong as Bailey, it deserves to break free from its sanitized formula to become something fresher. Minor alterations aside, this is still the same story, where stakes are neutered and songs fly freely.

Yes, it’s great that Bailey’s casting speaks to a new generation of moviegoers, but they (and her) deserve a story less beholden to the past, as does the live-action medium itself, which pushes against the film’s fantastical elements. What’s left is a better-than-average Disney remake that has little more to say and boatloads of money to rake in.

Scuttle, Dingelhopper, Flounder and Ariel

“The Little Mermaid” is a 2023 live-action, animated musical remake of Disney’s 1989 classic directed by Rob Marshall and starring Halle Bailey, Javier Bardem, Jonah Hauer-King, Awkwafina, Daveed Diggs, Jacob Tremblay and Noma Dumezweni. It is rated PG for action/peril and some scary images and the runtime is 2 hours, 15 minutes. It opens in theaters on May 26. Alex’s Grade: B-.

Jonah Hauer-King as Prince Eric and Halle Bailey as Ariel roam the castle grounds.

‘Being the Ricardos’ A Lush Look at Legends Lucy and Desi At Crossroads

‘Being the Ricardos’ A Lush Look at Legends Lucy and Desi At Crossroads

By Lynn Venhaus

One of the best films of the year, “Being the Ricardos” defies expectations, and it’s exhilarating.

During one critical production week of their groundbreaking sitcom “I Love Lucy,” Lucille Ball (Nicole Kidman) and Desi Arnaz (Javier Bardem) are threatened by shocking personal accusations, a political smear, and cultural taboos in Aaron Sorkin’s behind-the-scenes drama “Being the Ricardos.”

Because this biographical drama focuses on richly textured storytelling, an extraordinary ensemble goes beyond impersonations of the “I Love Lucy” cast to seamlessly weave potential personal and professional crises within one week’s time.

Writer-director Aaron Sorkin has brilliantly constructed how household names Lucille Ball and Desi Arnaz coped with damaging headlines while filming their groundbreaking television series that was seen by 60 million viewers each week.

The sitcom, which ran for six seasons from 1951 to 1957, was the first scripted television program shot on 35mm film in front of a studio audience and the first to feature an ensemble cast.

It was a big deal. One of the most influential shows in history, it was voted Best TV Show of All Time in a 2012 survey conducted by ABC News and People magazine. Fans remember certain episodes fondly – the unforgettable candy factory, Vitameatavegamin and grape stomping to name a few. (Don’t worry – fans get a taste).

Sorkin incorporates the Red Scare, courtesy of the hysteria caused by the House Committee on Un-American Activities by now disgraced Sen. Joseph McCarthy, as tabloid headlines screamed Lucy was a Communist – and powerful gossip columnist Walter Winchell announced it on his weekly radio show.

Sorkin also depicts how cavalierly women were treated in Hollywood in a sharp script that can resonate with modern audiences.

After five Emmy Awards for “The West Wing” and multiple Oscar nominations – and one win for “The Social Network,” his style is familiar – “Sorkin speak” – and it remains riveting.

Above all, the film concentrates on the relationships. The actors nimbly deliver the material to make it sing – and zing.

Lucille Ball is portrayed as a talented creative force who struggled to be taken seriously in a male-dominated business in the early days of a young industry. She was tough, but she had to be, and fought for what she wanted.

The time is 1952, and the creative team gets everything right about the period – including attitudes and social mores.

And so do the actors — three Academy Award winners and one Tony Award winner deliver a master class on portraying four real people from the inside out.

Proving the naysayers wrong, Nicole Kidman may make believers out of her harshest critics with her multi-layered portrayal. She shows us different facets of Lucy’s life – the wife, mother, performer, and producer.

Kidman works fluidly with equally magnetic Javier Bardem as her mate and business partner, and he’s an indelible Desi Arnaz – he captures the savvy producer, protective husband, charismatic singer, vivacious musician, and a Cuban immigrant torn from his former life.

A pioneering power couple, both were driven, intelligent people who blazed trails and envisioned the big picture. They had a tempestuous hot-cold relationship that affected their careers and didn’t last in their personal lives. Sorkin honors them as visionaries while not sugar-coating their issues.

As the show’s sidekicks Fred and Ethel Mertz — the Ricardos’ landlords – William Frawley and Vivian Vance were further from their character’s reality than the public knew.

As hard-drinking, sarcastic veteran Bill Frawley, ace character actor J.K. Simmons is a terrific grumpy old guy with little tolerance for fools – yet a softer, wiser man when letting his guard down. He’s a certain supporting actor nominee, and awards nominations should be forthcoming for all.

A spirited Nina Arianda, 2011 Tony Award winner for “Venus in Fur” in her first Broadway role, knows exactly who Vivian was and honors the second-fiddle actress while announcing her arrival in a major way.

TV was just beginning to be a force for societal change, and “I Love Lucy” was the biggest show on television at that time, the gem in CBS’s crown.

Back then, the sitcom’s premise was different – As the wife of Cuban bandleader Ricky Ricardo, Lucy tries to help him succeed in show business but usually gets in a pickle, driving her husband crazy. She usually enlisted best gal pal Ethel Mertz – her neighbor – in the shenanigans.

When the Ricardos welcomed little Ricky back in 1953, it was a major TV event. This film shows how the sausage was made, so to speak – the network brass dealing with Lucy’s real-life pregnancy in a typical tone-deaf way indicative of the times.

The supporting cast excels at revealing the period restrictions, and the dilemmas involved in running a successful TV show. Tony Hale, Alia Shawkat and Jake Lacy play crucial staffers Jess Oppenheimer, Madelyn Pugh, and Bob Carroll Jr. as their young selves while John Rubinstein, Linda Lavin and Ronny Cox play them as older retirees looking back.

As director, Sorkin shows us the writers’ room and the soundstage, then opens the doors on their personal life – and their Hollywood back stories. It’s a revealing glimpse into the personalities as well as Lucy’s comedic genius and Desi’s practicality focused on moving the show forward.

This is only his third film directing, and most accomplished work to date (“Molly’s Game” and “The Trial of the Chicago 7” preceded it.)

In a clever move, Sorkin displays Lucy’s thought process on making scenes work – and often better. Alan Baumgarten’s editing and Jeff Cronenweth’s cinematography are exceptional in this regard, but every element – Jon Hutman’s production design, Susan Lyall’s costume design and Daniel Pemberton’s music score come together in a top-tier polished way. Most have worked with Sorkin before.

As is well-documented, the Arnaz’ marriage didn’t survive – and we see why here. In this case, Desi has more explaining to do than Lucy.

And Sorkin took creative liberties with the storyline – the events happened, but not in seven days. But it’s fascinating nonetheless and a well-crafted showbiz drama. Comedy is not pretty, Steve Martin titled his third comedy album in 1979, and this film certifies that to be true.

Above all, the film serves up a fresh appreciation for the talented pair. Engaging and entertaining, “Being the Ricardos” is a lush look at legends Lucille Ball and Desi Arnaz and the way they were at a crossroads time in America.

“Being the Ricardos” is a 2021 drama directed and written by Aaron Sorkin. Starring Nicole Kidman, Javier Bardem, JK Simmons, Nina Arianda, Tony Hale, Alia Shawkat, its run time is 2 hours, 11 minutes and is Rated R for Language. In theaters on Dec. 10 and on Amazon Prime on Dec. 21. Lynn’s Grade: A.

Dune: Sand, Space and Part One of Visually Stunning Sci-Fi Adventure

Dune: Sand, Space and Part One of Visually Stunning Sci-Fi Adventure

By Lynn Venhaus
As far as big-budget cosmic spectacles go, “Dune” is impressive at filling the screen with wonder.

Directed by visionary Denis Villeneuve, who frames everything with meticulous care, as he did with “Arrival,” his only Oscar nomination, and “Blade Runner 2049” – the film is a technical marvel, with visually stunning panoramas and innovative flying machines.

A mythic hero’s journey, “Dune” is the big-screen adaptation of Frank Herbert’s seminal 1965 bestseller about a feudal interstellar society in a galaxy far, far away, which is set in a distant future.

It’s the story of Paul Atreides, a gifted young man born into a great destiny beyond his understanding. As part of the noble house of Atreides, he must travel to Arrakis, the most dangerous planet in the universe for the future of his family and people.

The desert wasteland planet has an exclusive supply of “mélange,” aka “the spice,” a drug that extends life and enhances mental abilities. As it is the most precious resource in existence, malevolent forces are at work to prevent this, and only those who can conquer their fear will survive.

Yet are these characters engaging enough? How much do we care about what happens to these political dynasties? They prefer to whisper in cavernous spaces, and while mesmerizing Zendaya’s narration helps, the project’s mythology on such an epic scale tends to weigh it down with “importance.”

Our hero’s journey is a very long one and we spend 2 hours and 35 minutes leading up to a next chapter. This is only Part One. We are warned at the end, when one character says to Paul: “You’re just getting started.” The payoff isn’t quite there – so when is Part Two?

We have just invested time on an extended prologue. Oh dear. Will only fans of the book be able to appreciate this saga? And isn’t that the true test? As is always the case, those not familiar with the source material will be at a disadvantage trying to keep up with the warring factions.

Josh Brolin, Oscar Isaac and Stephen McKinley Henderson

Considered the best-selling science fiction novel of all-time, “Dune” is gigantic in scope, and the 1965 cult classic touches on themes involving politics, religion, ecology, technology, and human emotion, threading them all together in space.

The empire’s other planets want control of Arrakis for its spice, which is also necessary for space navigation because of its multidimensional awareness and foresight.

“Dune” is only the first in a series, followed by Herbert’s five sequels: Dune Messiah, Children of Dune, God Emperor of Dune, Heretics of Dune, and Chapterhouse: Dune. After his death, others have kept the franchise going.

Its devoted fan base inspired filmmaker Alejandro Jodorowsky to attempt a film adaptation in the 1970s but it was cancelled after three years in development. Along came David Lynch’s complex adaptation in 1984, which was a harshly received misguided mess, and there was a Sci-Fi Channel miniseries in 2000.

While light years ahead of the 37-year-old film, “Dune” does seem to have the same problem about adapting something so unwieldy – that the character development suffers.

It’s difficult to figure out the planetary relationships and who’s who among the different groups, even with a strong cast that attempts to make everything as lucid as possible.

This one does attempt to over-correct in a tedious way, with a screenplay by director Villeneuve, Jon Spaihts (“Doctor Strange,” “Prometheus”) and Eric Roth, Oscar winner for “Forrest Gump,” that still is lacking in explanations.

Paul is played with youthful elan by Timothee Chalamet, who seems to be working non-stop. His character, burdened by birthright, is actually the least interesting of the massive ensemble – but the camera loves him, and he looks good standing in many shots of wind and blowing sands, contemplating.

Chalamet has genuine interactions with his father, an authoritative but loving Duke Leto Atreides, well-played by the always captivating Oscar Isaac. With warm fatherly advice, Isaac tells him: “A great man doesn’t seek to lead; he’s called to it.”

It’s not his fault that Paul is a blank slate. He is being groomed to take over, and while at times reluctant and confused, he ultimately accepts his duties. His mother, all-serious Lady Jessica, is a tough taskmaster, and subtly played by Rebecca Ferguson, they have a protective relationship.

Far more compelling is Jason Momoa as the fierce warrior Duncan Idaho. He brings some oomph to the fighter’s bravado and his fists of fury are legitimate. Momoa and Chalamet warmly convey a loyal long standing friendship.

Not given much to do is Josh Brolin as Gurney Halleck, the duke’s right-hand man, and Dave Bautista as antagonist Beast Rabben Harkonnen – along with Momoa, they are the recognizable fighters.

A barely there Javier Bardem is Stilgar, a leader of a desert tribe. An unrecognizable Stellen Skarsgard appears, Jabba the Hut-like, as the disgusting despot Baron Vladimir Harkonnen. The Harkonnens are the evil not-to-be-trusted bad guys.

The first hour is full of awe. But why do movies about the future tend to mix medieval and “Star Wars” knock offs in production design and costumes, similar to the “Game of Thrones”? The color palette is deary shades of gray, beige and black.

While that gets wearisome, the cinematography of Greig Fraser is dazzling. An Emmy winner for “The Mandalorian” and Oscar nominee for “Lion,” he expresses the grandeur of the planets’ landscapes as well as the more intimate moments in various degrees of light.

He worked on “Rogue One: A Star Wars Story” and the upcoming “The Batman,” so tackling sandworms and spaceships is natural for him. His majestic work is one of the pleasures of seeing this in IMAX.

Hans Zimmer’s score is a stirring mix projecting danger and derring-do in dissonant chords, setting an urgent tone for action.

Dune (2021).TIMOTHEE CHALAMET.Credit: Chia Bella James/Warner Bros.

Despite its storytelling flaws, “Dune” is such a monumental example of state-of-the-art filmmaking that its cinematic universe deserves to be seen on the big screen.

“Dune” is a 2021 science-fiction action adventure directed by Denis Villeneuve. It stars Timothee Chalamet, Rebecca Ferguson, Zendaya, Oscar Isaac, Josh Brolin, Jason Momoa, Dave Bautista, Stellan Skarsgard, and Javier Bardem. Rated PG-13 for sequences of strong violence, some disturbing images and suggestive material, its run time is 2 hours, 35 minutes. It opened in theaters Oct. 22 and is streaming on HBO Max for 31 days. Lynn’s Grade: B.