Every Dune Adaptation Ranked

Frank Herbert's "Dune" is one of the most influential science fiction books of all time. The original novel remains a groundbreaking story that draws inspiration from the hero's journey or monomyth, environmental science, politics, real history, and Arabic religion and Middle Eastern culture to deliver an unprecedented epic about the dangers of messianic leaders and the importance of ecology.

Ever since its initial publication in 1965, "Dune" has captivated all kinds of audiences, including hopeful producers and executives eager to adapt the story of Paul Atreides and his rise to power into a cinematic event. For a long time, filmmakers kept trying and failing to turn "Dune" into a movie, resulting in Herbert's book being labeled "unadaptable." Since then, however, there have been a handful of movie and TV adaptations, each of them highlighting different aspects of the original novel and its sequels.

With Denis Villeneuve turning "Dune" into a two-part box office reigning blockbuster, it is time to look back and rank every screen version of Frank Herbert's "Dune" — yes, even the mini-series based on the first two sequel books.

Where Villeneuve's "Dune: Part One" falls on your personal list likely depends on two things — whether the splitting of the story bothers you, and your thoughts on the film's modernist, more grounded aesthetic. That's because Villeneuve throws away the trippy, alien look of David Lynch's "Dune" and ignores the soap opera-y look and absurd costuming of the "Dune" mini-series in favor of a grounded (at times even dull) modern blockbuster look that focuses on grand vistas over dazzling imagery.

Indeed, this is very much a post-Marvel blockbuster, one that boils down the book to its thematic essence rather than dwelling in its world or tone. "Dune: Part One" spends a lot of time relishing in the grandeur and vastness of Arrakis rather than its beauty. It mostly ignores the larger politics of the universe — the Spacing Guild is barely in here — to instead spend more time on Paul's inner struggle with his future. Though characters like Yueh and Thufir Hawat are all but non-existent in this film, Lady Jessica gets a bigger role, and her relationship with Paul is extended and adapted in fresh ways.

That is because the crux of this film lies in the idea of inevitability and strings. The Atreides are moved by an invisible string, slowly walking toward their doom, and Paul is slowly walking toward his fate as the Kwisatz Haderach. More than any other adaptation, this film has Paul not only confront Jessica about how her Bene Gesserit teachings and eugenics made him a threat but is the only one that has Paul fully aware of the Missionaria Protectiva and the role the Bene Gesserit had in spreading superstition among the Fremen to manipulate them. Also, the film giving Jamis a bigger role is a fantastic choice that plays into Paul's powers.

Though maligned and seen as a misstep in its time and all but disowned by its director, David Lynch's "Dune" is now an anomaly. As our own Joe Roberts has described it, Lynch's "Dune" exists "somewhere between cult classic and historic blunder." The film's biggest strength is how it translates the otherworldly imagery of the book with stunning art direction, impressive sets, and character designs. It also still has the best interpretation of the Spacing Guild Navigators.

Sure, the film race-bended the book and had a pretty white cast, but there's something cool about seeing a bunch of Lynch regulars inhabiting Arrakis. Plus, Sting as Feyd Rautha is an inspired piece of casting, especially when paired with his costuming.

If nothing else, as an adaptation, Lynch's "Dune" makes some fascinating changes and additions. Take the Weirding Module, which replaces the martial arts concept of the "Weirding Way." Though it takes away from Jessica's role in the story, having a sonic weapon that can kill with sound is simply cool, and the moment Paul realizes his very name can kill fits right in with Herbert's world. Of course, there's also the weird yet inspired choice of having Toto compose the score for the movie, which remains unique and quite electrifying. Even in the writing, Lynch's film features the phenomenal line "The sleeper has awakened!" which is so good it should have been in the original book (although the voice-over, while useful, can be a bit distracting).

Unfortunately, Lynch's "Dune" deeply misunderstands and/or ignores the message of the book, turning Paul into an actual white savior with zero interrogation of his role among the Fremen. Still, what it lacks in thematic depth it exudes in visuals. This is a kinky, outlandish, beautiful-to-look-at, and truly alien sci-fi movie.

Though technically not an adaptation of "Dune," Hayao Miyazaki's early masterpiece "Nausicaä of the Valley of the Wind" shares a lot of similarities with Herbert's novel, particularly in its portrayal of ecology and its importance.

In "Nausicaä," the eponymous warrior princess resides in a small kingdom bordering a poisonous forest harboring giant sandworm-like insects known as the Ohmu. The forest is full of poisonous spores in the air that kill any human who steps into it instantly. The story follows Nausicaä as she finds a way to communicate with the Ohmu, following an ancient prophesy and changing humanity's understanding of the world.

Though the film's take on messiahs and prophecies is almost the polar opposite of Herbert's work — Miyazaki's manga version of the story, however, is much darker and closer in tone to Herbert's writing — the two works are similar where it counts the most: a love of ecology. You see, the thing that no adaptation of "Dune" (not even the mini-series that actually includes this in its plot) has fully nailed is Herbert's love for ecology and how it impacts an entire society.