Before he became the legendary director behind “Jaws”, “Raiders of the Lost Ark”, “Jurassic Park”, “Schindler’s List”, and “Saving Private Ryan”, Steven Spielberg found success in an unexpected place – an ABC television movie of the week. At only 24 years-old, the ambitious and immensely talented Spielberg made “Duel”, a movie that would be the launching pad for one of the great filmmaking careers of our time.

While technically not Spielberg’s first feature-length film (that honor goes to the self-made “Firelight” which has never been made public), “Duel” is considered to be the filmmaker’s first officially released movie. As you watch, the very technique and craftsmanship that would define his extraordinary career is present in its early stages. It results in propulsive action thriller built upon the classic tenets of good old-fashioned suspense.

The script was written by Richard Matheson who was adapting his very own short story that was published in Playboy magazine. The film is light on dialogue, with Spielberg intent on letting the two led vehicles do most of the “talking”. The rest is left to Spielberg’s wizardry that utilizes both visuals and sound to drive this harrowing and high-octane nailbiter.

Spielberg cranks things up with an outstanding opening credits sequence that features a camera mounted on the front of a car as it drives through Los Angeles, out to the freeway, and eventually down a mostly barren two-lane rural road. Behind the wheel is David Mann (played by a pitch-perfect Dennis Weaver), a mild-mannered traveling salesman driving his Plymouth Valiant as an AM radio talk show plays in the background.

A few miles into his trip he encounters the film’s antagonist – a rusty and grime-covered 1951 Peterbilt tanker truck with thick smoke billowing from its stack pipe and license plates mounted on its front bumper like trophies from his past victims. We never see the face of the truck’s driver, only getting a few glimpses of his arm (and later his brown boots). Even scarier, we never get a sense of his motive for the terror he’s about to unleash.

Their encounter starts with David passing the truck only to have the truck pass him less than a mile later. The truck driver then slows down, forcing David to pass him again. As David speeds along the truck bears down on him, riding his bumper and blaring his horn. Quickly what resembles an instance of road rage boils over into a dangerous game of vehicular cat-and-mouse.

As you ride along with “Duel” it’s impossible to miss the Hitchcockian vibe which is felt in everything from the crisp direction to the score (composed by Billy Goldenberg). Spielberg insisted on shooting the film on location and he did so in only thirteen days. It ends up making a significant difference by creating a palpable sense of authenticity. Meanwhile Weaver is a terrific centering point, selling us on his character’s fear by his physical intensity and through internal monologues which emphasize David’s rattled state of mind.

“Duel” first aired on November 13, 1971 and was an instant hit. In fact, it was so popular that Spielberg was brought back to shoot a few more scenes, lengthening its runtime to 88 minutes in preparation for an eventual big screen release in 1983. What’s great is that the movie still holds up well today in large part thanks to its taut and straightforward story and the way it’s told by a savvy young director with an extraordinary vision that would only get better in the years that followed.

VERDICT – 4 STARS

Denis Villeneuve has done the impossible by adapting Frank Herbert’s seminal science-fiction novel series “Dune” for the big screen. Of course he’s not the first to attempt it. But Villeneuve’s two films have fully captured Herbert’s epic vision which has long been declared “unfilmable”. Villeneuve makes some meaningful alterations. But he never loses sight of what Herbert intended and what Dune fans love about the universe.

The success of Villeneuve’s films has also opened the doors for further explorations of Herbert’s vast Dune mythology. And that leads to “Dune: Prophecy”, a big-budget HBO series streaming exclusively on MAX. “Prophecy” is a six-episode prequel that focuses on the origins of the Bene Gesserit Sisterhood – a matriarchal sect who hold great power and influence in the universe. Outwardly they individually pose as Truthsayers for each of the major Houses. Secretly they’ve developed a breeding program to manipulate royal bloodlines to their own advantage.

But as its title teases, “Dune: Prophecy” has some interesting connections to the Villeneuve films. I won’t spoil them all here, and to be honest showrunner Alison Schapker wisely doesn’t show all of her cards in this first season. Let’s just say much of the second Dune movie revolves around a specific prophecy devised and planted by the Bene Gesserit on the spice-rich planet of Arrakis. Is Schapker setting up the Missionaria Protectiva’s work on Arrakis which inadvertently gave rise to Paul Atreides as the Kwisatz Haderach?

Taking place 10,148 years before the birth of Paul Atreides, “Prophecy” shows us the fledgling Bene Gesserit through the story of two sisters, Valya (Emily Watson) and Tula (Olivia Williams) Harkonnen. The story follows their troubled childhood, their introductions to the sisterhood, and ascent to Reverend Mothers. Though slow out of the gate, lovers of Dune lore will find a lot to soak up especially in the later episodes when things get clearer and connections to the films begin to develop.

Another key part of the series involves House Corrino and its leader, Javicco (played by Mark Strong). He is the sitting Padishah Emperor of the Known Universe who finds himself managing the fragile peace between the Houses. That peace is put in jeopardy with the arrival of the mysterious Desmond Hart (Travis Fimmel), a soldier believed to have died with the rest of his regiment following a surprise attack on Arrakis. As Desmond methodically wins Javicco’s trust, more is revealed about his dark past and self-serving motives which eventually intersects with the Sisters.

This only scratches the surface of “Dune: Prophecy” and its story which opens far more doors than it closes. But this is television, and with a second season already in the works, we have a lot of Dune to look forward to on big and small screens. Hopefully a second season will offer even more connections to the Villeneuve films while taking the time dig into more unexplored corners of Herbert’s vast world. Schapker and company shrewdly set the table for that.

“Dune: Prophecy” most certainly isn’t the best entry point for newcomers. The series almost demands at least some working knowledge of the Dune universe, particularly as seen through the lens of the Villeneuve films. The series clearly has “Game of Thrones” aspirations which in some ways hamper the early episodes. But it helps in other key ways, namely in its similar grand ambition that shines through in the storytelling, the terrific production design, and costumes. Add in an incredible ensemble and the meatiness of the source material and you have a prequel series that kicks off something that could be truly epic.

VERDICT – 4 STARS

Writer-director Christian Gudegast made his directorial debut back in 2018 with “Den of Thieves”, a crime thriller and heist film that sat in various stages of development for nearly 15 years. It was a suspenseful and action-packed feature that was far better than the reception it received from critics and even at the box office. Now seven years later, Gudegast is finally back for his sophomore effort, “Den of Thieves 2: Pantera”.

The first “Den of Thieves” left its story in an interesting spot and it certainly opened the door for a sequel. “Pantera” brings back the previous film’s two central characters and once again makes them the centerpiece. Gerard Butler reprises his role as the gritty and worn LAPD detective Nicholas “Big Nick” O’Brien. And O’Shea Jackson Jr. returns as Donnie Wilson, a once small-time criminal turned big-time thief after escaping to Europe with $30 million.

“Pantera” kicks off with the two characters in much different places. Donnie is living large in Europe but he hasn’t left behind the thrill of the heist. The film opens with him and his crew pulling off a daring job in Antwerp, Belgium, swiping diamonds for a broker named Jovanna (Evin Ahmad). Back in Los Angeles, Nick is fresh off a painful divorce and is still licking his wounds after being duped by Donnie. Nick is determined to track him down but the embarrassed police department would rather put it all behind them.

But Nick’s luck changes after he gets a tip that Donnie’s money is being moved to and from a bank in Panama. The cash trail leads him to Nice, France where Donnie and Jovanna have their sights set on an $850 million score in the highly secured World Diamond Center. The pair put together a crack team of fellow thieves and begin constructing a plan to infiltrate the heavily guarded diamond exchange and break into its impenetrable state-of-the-art vault.

Now here comes the swerve. After landing in Nice and paying a visit to the local police station for some intel, Nick tracks down Donnie and surprises him with a visit. But rather than arrest him, the disheveled and frustrated Nick tells Donnie he wants in on the job. And just like that Donnie finds himself right back in the middle of the game. But this time the stakes are even higher, especially after Donnie learns the diamonds he stole belonged to the Sicilian mafia.

From there Gudegast patiently yet meticulously maneuvers us through the surprisingly rich story. This time there are several more players besides our team of thieves. The cops, the mafia, even some angry ex-crew members, all have roles to play. Interestingly, the action takes a backseat this time around, with more time put into the various character dynamics especially between Nick and Donnie. Butler and Jackson Jr. play off each other well and they’re more equals this time around.

But of course everything is ultimately building towards the big heist which Gudegast lets play out at a tense real-time pace. He not only builds suspense but he’s able to sustain it through most of his film’s nail-biting final act. It’s capped off with an action-fueled payoff along with a couple of unexpected twists that leave the door cracked for a third film if this one does good numbers. And hopefully we won’t have to wait another seven years for it to come.

“Den of Thieves 2” comes across as more polished than its predecessor, yet it maintains some of the same grit that was a big part of the first film. This time we’re treated to a number of beautiful European vistas and it has a slightly lighter tone. There are a few times where we can feel its length. And it’s not always easy to understand what our thieves are doing, especially amid the big heist. But “Pantera” still makes for a worthwhile sequel and a solid expansion in what has become a genuinely exciting film series.

VERDICT – 3.5 STARS

Odessa Young plays a widow suffering the consequences of an impossible choice in “The Damned”, a period psychological horror thriller from director Thordur Palsson. Set in the 19th century, the story (written for the screen by Jamie Hannigan) builds much of its tension through its harsh setting. It often implies more than it shows which fuels much of the dread. The rest comes down to Palsson’s ability to sustain a chilling atmosphere for the duration.

Young’s character is named Eva. She and her husband Magnus purchased a fishing station along the icy Icelandic coast. It’s a frigid and forbidding place, but one that offers tremendous opportunity for those able to endure the cold. When we first meet Eva, Magnus has already died in a tragic accident. Determined to keep her husband’s dream going, Eva opens it up to fisherman who come to fish during the winter months. There they stay, snowed in until Spring when they can take their earnings and reunite with their loved ones.

One afternoon Eva and the fisherman witness a ship sinking out in the icy bay. They’re left with a harrowing choice. If they venture out into the tumultuous sea to help they run the risk of crashing their boat against the rocks. And if they do save the sailors and bring them to shore, will they have enough food to make it through the winter? A pained Eva decides not to send their boat out to help which leads to some devastating consequences.

Their fateful choice weighs heavier on them after bodies from the shipwreck begin washing up on the shore. To make matters worse, the camp’s hyper-superstitious cook Helga (Siobhan Finneran) ominously warns that vengeful spirits have been unleashed due to their inaction. The fisherman are quick to dismiss her claims as old wives’ tales. But as a series of horrifying events befall the small group, we’re left to wonder if they’re cracking under the weight of guilt or if a supernatural evil is in their midst.

Even with its lean 89-minute running time, “The Damned” is a bit of a slow-burn. The film has its grisly moments which fit well and have a savagely potent effect. But Palsson is less interested in spectacle and more into patiently developing an intensifying sense of fear, tension, and paranoia. And while Hannigan’s script can be light on characterization, there remains a human pulse which is seen most in the way guilt gnaws away at Eva and the men. It’s mental and physical toll is crushing.

Filmed on location in Iceland, “The Damned” uses its distinct setting as a key means of defining its characters’ bleak and pitiless circumstances. DP Eli Arenson’s high-contrast cinematography is bone-chilling in a variety of ways. It effectively captures the forbidding Westfjords winter while also setting up some of the movie’s biggest frights. A case could be made that Palsson leans it tad too much on the visuals and the atmosphere they help create. But they’re essential in making “The Damned” a truly visceral experience.

VERDICT – 3.5 STARS

Eva Green gets to flex her action movie muscles in “Dirty Angels”, the new action thriller from director Martin Campbell (“Goldeneye”, “Casino Royale”). Joining Green in the mostly female-driven cast are Ruby Rose, Maria Bakalova, Rona-Lee Shimon, Jojo T. Gibbs, Emily Bruni and Laëtitia Eïdo, all of whom show to be plenty capable of pulling off what the movie needs and more. If only they had better material to work with.

The problem is the ladies are handcuffed by a lackluster script that doesn’t allow them to deliver beyond their character archetypes. There are a smattering of scenes that attempt to provide at least some emotional depth. But they fizzle out once the characters are forced back into their shallow and simplistic roles. The actresses do the best they can and manage to add a little personality to the proceedings. But everything from the action to the pseudo-tough talk feels like it’s copying an out-of-date formula.

“Dirty Angels” is set in 2021 during the United States’ messy military withdrawal from Afghanistan. A band of ISIS terrorists led by a ruthless and borderline cartoonish radical named Amir (George Iskandar) storm a girls high school in Pakistan where they take several students hostage, among them the daughter of a high-ranking Pakistani minister. Amir transports them back across the border to his hideout in Afghanistan where he demands $70 million and the release of a certain “holy man” being held prisoner.

Green plays Jake, a hardened special ops soldier who is recruited by a CIA agent and old friend named Travis (Christopher Backus) to lead an international team on a rescue mission to save the girls. Jake has no interest until she hears the mission involves Amir, the madman who executed her team only a few months earlier. Hungry for revenge, Jake accepts the op and takes her fury to Pakistan.

In order to get across the border, Jake will be posing as a member of an International Relief Organization. To make it more believable she is assigned a team of all women, each coming from different parts of the world and each with their own specialty. And of course they all go by nicknames. There’s Shooter (Bruni), the weapons specialist, Geek (Gibbs), the tech expert, The Bomb (Bakalova) who handles explosives, Rocky (Shimon) the mechanic, and Medic (Rose) who is…the medic. They’re assisted by two local brothers (Aziz Çapkurt and Reza Brojerdi) who bring a little levity to the otherwise super-serious movie.

It takes a while for the story to kick into gear and even longer before we get any noteworthy action. Once it finally does it becomes pretty obvious how things are going to play out. Along the way screenwriters Alissa Sullivan Haggis and Jonas McCord make an effort to show the volatility of the region. But deciphering who’s who between ISIS, the Taliban, and the Pakistani government isn’t always easy.

The rescue mission’s inevitable action-packed finish is a well staged blowout that brings some welcomed energy. But that doesn’t make the sluggish trek to get there any more thrilling. It doesn’t provide the flimsy characters with any more substance. And it doesn’t change the movie’s overall lack of originality. Those are just some of the hurdles that trip up “Dirty Angels” and that keep it from reaching the potential it teases us with.

VERDICT – 2 STARS

It’s always nice when Netflix surprises you with something you weren’t expecting. Such is the case with the Sam Raimi produced “Don’t Move”, the platform’s recently released feature, co-directed by Adam Schindler and Brian Netto and co-written by TJ Cimfel and David White. Set mostly in the California wilderness, “Don’t Move” meshes together psychological and survival elements into a taut and high-stakes thriller.

Kelsey Asbille (“Yellowstone”) plays Iris, a grieving young mother who recently lost her son Mateo in a tragic hiking accident. One morning she wakes up and slips away into the California mountains to the site of her son’s death with the intent of taking her own life. But while there she’s surprised by a stranger named Richard (Finn Wittrock) who quite literally talks her off a ledge.

But Richard’s kindness turns to malice after he suddenly attacks and injects Iris with a strong paralytic. He informs her that her body will quickly shut down and she’ll be temporarily paralyzed. But Iris is able to escape through the woods with Richard leisurely following behind. But the farther she goes the more she begins to lose her body’s functions which sets up a key part of the movie’s suspense. How does she survive all alone, off the grid, and with no use of her body?

Asbille gets a role that’s light on dialogue, but she does a stellar job selling Iris’ dread through her physicality and ability to express. Meanwhile Wittrock is convincing as a misogynistic charmer who’s barely able to conceal his sociopathic desires. A couple of well-acted side characters (played by Moray Treadwell and Daniel Francis respectively) pop up mainly to help ratchet up the tension and build Richard’s cold-blooded pathology.

Handsomely shot by cinematographer Zach Kuperstein, propulsively directed by Schindler and Netto, and fiercely acted by Asbille and Wittrock, “Don’t Move” makes for a thoroughly satisfying watch-at-home escape. Its simple and straightforward story arc follows a fairly obvious course so it’s easy to guess where it’s going. But there’s enough along the way to keep you on the edge of your seat and glued to the screen. “Don’t Move” is now streaming on Netflix.

VERDICT – 3.5 STARS