Valerian and the City of a Thousand Planets (2017) Directed by Luc Besson. With Dane DeHaan, Cara Delevingne, Clive Owen, Rihanna and Ethan Hawke.
Luc Besson’s screen translation of the French fantasy comic series, Valerian and Laureline, is an eccentric concoction of cinematic nods to Flash Gordon, Avatar Blade Runner and Star Wars, in which a pair of young mercenaries in the 28th century (DeHaan and Delevingne) find themselves in the middle of an intergalactic standoff between a peaceful alien race and a wicked Clive Owen.
In terms of storytelling, Besson’s best work (Leon, La Femme Nikita) is done with a simpler, less hyperactive method. It often seems that what he lacks in narrative discipline, he counterbalances with visual dazzle. Valerian has the look a Lucas-era Star Wars prequel on drugs, with its eye-popping design bursting out of the screen like some kind of wacky hallucination. And, thanks to an intriguing prologue and one clever set-piece, for around 45-mins it successfully coasts by, feeding our optical sensors a colourful rainbow beam of straight up fun.
Sadly, the visual energy lasts for only so long, as the story sticks in the mud and the characters aren’t afforded enough depth to earn our investment. DeHaan, and an ass-kicking Delevigne are fine, but an attempt to recreate Han and Leia’s ‘will-they’ love story of The Empire Strikes Back doesn’t resonate, partly because they look more like brother and sister than potential lovers, and partly because the writing offers little reason to cheerlead them.
As the second act loses steam, a wack-a-day Ethan Hawke bounces on as futuristic pimp, playing host to pop-star Rihanna, who swirls, twirls and gyrates her way through an indulgent performance that stops the movie in its tracks, and is a prime demonstration of Besson’s ill-discipline – a cinematic pleasure-seeker whose semi-worship of supermodels and pop-stars often lumbers his ability to tell a good story. That’s not to blame Rihanna, who isn’t awful..she’s just Rihanna.
This is above all a visual experience with thin characters and a waffling plot. Like Flash Gordon, it will thrill young eyes and has a good shot of finding cult popularity in coming years. Some of the creations are a true joy to behold, with an array of fantastical imaginings covering everything from costume design to sound effects. Besson has to be given credit for his ability to put the film on screen, with a frankly mind-boggling level of visual detail to absorb. It’s a shame to come away slightly fatigued (it’s too long) and underwhelmed by an experience that aims so hard to please.
And, yeah, I loved the ambition here but unfortunate casting errors with Dane, who I usually rate, and far too much going on. A Netflix series, or similar, would have given them time to develop the characters, world’s and beyond!
Maybe you’re right about Netflix. It’s the place to go to do the slow character build. I like Dane too. He’s great in Chronicle. The actors didn’t have a great deal to chew over. Thank you for stopping by my page.
If you haven’t check out The Place Beyond the Pines as well, and Life with DeHaan
I’ve seen The Place Beyond the Pines and you’re right, he’s very good in it. He seems adept at playing angst-ridden, tortured souls.
I think Besson is trying to replicate the cult status of “The Fifth Element.” But the thing is, you do not make a movie with that kind of goal in mind. And I definitely agree with you about his lack of narrative discipline; it gives the impression that he’s trying to cram too many half-baked ideas into one project. Maybe he’s aware of it and so he tries to distract the audience with pretty visuals.
I thought about The Fifth Element too. Certainly, it shares the same visual hyperactivity. I find Chris Tucker almost unwatchable in that film, though I saw it in my teen years so maybe I should revisit it. I think you might be onto something when you suggest he’s aware of his own lack of discipline.
Good review. Personally, I was really looking forward to this movie. It’s visual effects were solid and its world building was creative, but the cast was lifeless, the story plot was weak, the script was thin, and just didn’t at all “click” together.
Thank you Jason, I had limited expectations, mainly because Besson has continually disappointed me since Leon. He should get back to the bare bones of basic storytelling and characters.
Great review Gareth, it’s good to see your perspective on this as a fellow fan of Luc Besson’s work – Leon and La Femme Nikita are hard to top and granted this is a whole different animal but it seems the film doesn’t quite come together despite the efforts to please the masses.