“It’s Our Mission That Doesn’t Make Sense, Sir…”
With French filmmaker Luc Besson not succeeding in making a decent movie since the 1990’s when it comes to directing, the array of fingers which he has managed to stick into a wide range of cinematic pies including The Transporter and Taken series, means that particular film companies still feel the need to finance certain projects which stem from the mind of a man who continues to live off the success of his earlier and much more impressive bodies of work, of which Nikita and Léon still remain the standout features. With his latest release of Valerian and the City of a Thousand Planets this week, aside from having arguably the most arduous and stupidest film title in recent memory, Besson’s return to science fiction brings with it a relative amount of caution, particularly when the finished product could either be the silly, blockbuster fun of The Fifth Element or the idiotic, laziness of a film such as Lucy, and whilst there is no doubting that Valerian is filled to the rafters with a mountain of issues and quandaries, Besson’s latest is the type of movie which you begin to hate from the outset but then slowly edge through acceptance, excitement and enjoyment as the film reaches its’ long-awaited conclusion. Valerian is stupid, nonsensical and completely bonkers, but boy, I didn’t half enjoy it.
Although the screenplay is primarily based upon the French science fiction comic series, Valérian and Laureline, there is no doubting the visual splendour of the film takes cues from a wide variety of movies from fantasy cinematic history, and whilst it comes across as lazy to simply paint Valerian as a Star Wars rip-off, the sandy plains of the opening act and the introduction of characters that so clearly resemble famous faces from a galaxy far, far away is strikingly undeniable, even when the film effectively manages to be designed in such a superbly crafted fashion it’s impossible to not applaud the creative process behind it. With the visuals so flashy and impressively detailed, the cheddar-cheese dialogue and questionable acting does manage to be somewhat overlooked, even when Cara Delevingne manages to act almost everyone off the screen including leading co-star Dane DeHaan whose montone affinity results in him coming across as a next-generation Keanu Reeves cast-off, and with a narrative as bonkers and fundamentally confusing as the one at the centre of it, Valerian is that rare case of a movie being so wrong it’s right, and whilst I may be in the minority when the dust eventually settles, Besson’s latest isn’t a masterpiece by any measure, it’s just ridiculous, braindead fun.
Overall Score: 6/10
“Do You Know What The Cure For The Human Condition Is? Disease. Because That’s The Only Way One Could Hope For A Cure…”
Rather annoyingly, the use of the term “visionary” is something of which is pushed around so often in the current cinematic climate that to be regarded as such is somewhat of a negative down-stroke. With the likes of Zack Snyder and now Gore Verbinski proclaiming themselves as visionaries of modern cinema, directors who have released such “classics” such as Sucker Punch and Mouse Hunt respectively, the term has now officially become defunct and saved only for those who are deserved of the term, you know, like directors who have actually made films of some worth. Anyhow, Verbinski returns this year with the 18 rated A Cure For Wellness, a film which harks back to everything from The Ninth Configuration to Lars von Trier’s Riget, and a picture which can only be regarded as one of the most boring, misjudged and overlong works of horror I can remember within the remits of recent history. Whilst many have condoned A Cure For Wellness as simply nothing more than a Shutter Island rip-off, Verbinski’s latest makes Scorsese’s OTT two hours of mania look like a modern masterpiece, with it more likely to send you into a deep coma of confusion than inflict any real tangible sense of threat throughout a barnstorming length of two and a half hours.
After dropping a job-losing clunker and subsequently threatened with criminal prosecution, egotistic Wall Street flunky Lockhart, played by The Place Beyond the Pines’ Dane DeHaan, is sent to a mysterious health care centre in the heart of the Swiss Alps in order to retrieve a AWOL financial executive who has supposedly regressed into a complete and utter basket case and refuses to return to the US of A in order to complete a huge financial deal. Cue creepy looking patients, a mindless and ridiculously overcooked narrative and a concluding feeling of watching a movie which not only could lose at least an hour of its’ running time but one in which nothing actually happens, A Cure for Wellness suffers primarily from a runtime which is unbearable to say the least, and although Verbinski is renowned for an array of miscalculated movie lengths, with Pirates of the Caribbean 3 being a prime example, A Cure for Wellness is his pièce de résistance in terms of runtime malpractice. Whilst Jason Isaacs does do the best with what he’s given in the cliched “foreign stranger” role, the movie can’t escape the problems of its’ silliness, particularly within scenes of unnecessary violence including a cheesy R-rated dentist appointment and an attempted rape scene which borders on the outskirts of being a utter cringe-inflicted misstep. If you wish to see the type of movie A Cure for Wellness is so obviously attempting to be, seek out something like Shutter Island or The Shining instead, relieving you of the utter tedium of delving into a horror which is neither horrific or interesting. A cure for wellness? A cure for sleep deprivation.