“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.