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The special effects are eye-popping, especially the digitally created sand worms and cities. But Children of Dune's slow pacing and generally monotonous story show that looking good isn't better than being good.
Frank Herbert's Children of Dune tells a clearer story with better acting, stronger writing and a propulsive, majestic score by Brian Tyler that befits a grand space opera.
It spins out quite a complicated tale of political and religious intrigue, not quite as battle-heavy as its predecessor, but looks exotic and has a sense of scale missing from most space operas.
This is a spectacular production, and not just on a scale for television: the cinematography and art direction are lovely, the effects stunning, the score hauntingly beautiful.
Sci Fi Channel's long-awaited sequel to 2000's Dune turns everything up a notch: the special effects, the star power and the melodrama. It's everything a miniseries should be -- unless you're a diehard Frank Herbert fan.
Not only is the cast uniformly good, but the production values are strong and consistently applied... Children of Dune also boasts an excellent score and strong storytelling with very few scenes that seem tacked-on or superfluous.
The film, directed by Greg Yaitanes, unfolds more as a pageant than as a coherent narrative... If you give your reason a rest, your imagination could enjoy this ride.
There are other moments of perfect execution, proving that the makers of this miniseries still cared deeply for the story they were telling and the universe it occupies.
Children of Dune is like Shakespeare, Greek tragedy and a biblical epic rolled into one and set 8,000-plus years in the future. It's every bit as unwieldy as it sounds, but there are compensations.
The ambitious miniseries will bowl over viewers with its dynamic effects, sets, photography, costumes and Matrix-style action. Yet the themes of revenge and fanaticism are often muddled as the actors garble the portentous dialogue.