Cast & crewUser reviewsTrivia2017PG-132h 16mA dark force threatens Alpha, a vast metropolis and home to species from a thousand planets. Special operatives Valerian and Laureline must race to identify the marauding menace and safeguar... Read allA dark force threatens Alpha, a vast metropolis and home to species from a thousand planets. Special operatives Valerian and Laureline must race to identify the marauding menace and safeguard not just Alpha, but the future of the dark force threatens Alpha, a vast metropolis and home to species from a thousand planets. Special operatives Valerian and Laureline must race to identify the marauding menace and safeguard not just Alpha, but the future of the production, box office & company infoVideos48More like thisReview Both Too Good and Too Bad to Recommend StronglyI'm not going to lie, I was looking forward to Valerian and the City of a Thousand Planets. The production team behind it, in combination with the history of the IP not to mention the absolutely bonkers trailer made it seem like Mad Max Fury Road 2015 level intensity was the best case scenario. Worst case scenario, we were looking at a Jupiter Ascending 2015 a la, a movie with enough sheer lunacy to justify a watch despite being seriously it's to my surprise and partially to my chagrin that Valerian is neither of these things - not really. It is a painfully sincere movie that is positively aglow with its own ingenuity, like a toddler is with his own finger painting. And believe it or not, that kind of innocent hubris does save Valerian from quite of few scrapes and contrivances here and there. Yet when the day is done, there's no denying director Luc Besson's newest sci-fi space adventure is simultaneously too sloppy and too well made to and the City of a Thousand Planets is based on a series of French science fiction comics which chronicle the adventures of Valerian DeHaan a roguish space cop and his damsel-esque partner Laureline Delevingne. After their latest mission inadvertently puts them in possession of the film's magical sci-fi maguffin, they make their way to the fabled space city of Alpha. Once they get there however, all hell breaks loose and our heroes find themselves scrabbling to rescue their superior, Commander Filitt Owen from an unknown group of highs of this movie are near euphoric with some of the most creative and convincing examples of world-building seen this side of blockbuster cinema. The technology, the habitats the creature design et al. are all so refreshingly fun with the city of Alpha being the clear standout of all the marvelous filigree. Alpha at times feels like an ever shifting character in the film, assimilating worthwhile ideas from Star Trek 1966-1969, "John Carter of Mars," "20,000 Leagues Under the Sea" and all points in between. What's more, the worlds that are created here, you feel like you can come right out and touch them. They practically beg to be explored and thanks in part to the script, you get a decent if breezy tour of Alpha via Valerian and Laureline's fast-paced the lows in this movie are almost embarrassingly low, with every bad decision sticking out like Chris Tucker in cheetah print. The problems start almost immediately. Dane DeHaan and Cara Delevingne for all their efforts are sorely miscast as our heroes; trying desperately to pull off a Han/Leia vibe with the chemistry of flat soda. Much of it can't be helped of course; partially due to their age they look less like grizzled space cops whom by their own admission "have seen it all," and more like children playing dress up. You can also just tell what little direction they were given was limited to them hitting their mark and reading their lines, never mind emoting or interacting with the space in any meaningful also the issue of the plot, which on its own merits is fine and even a little illuminating on paper. Yet due to the way the story unfolds, we're given everything we need to piece together the themes very early on. Its clear Luc Besson who also wrote the screenplay doesn't want to bog the movie down too much with Avatar 2009 -level messaging. Gadgetry can be argued to be its own reward. But because the movie is in such a rush to whisk us to the next show-stopping set-piece, it all but ignores its problematic elements. Elements that include but are not limited to a simple "noble savage" vs. militaristic boogeyman narrative, human alien trafficking being treated as a fumbled plot device, an alien race modeled after feudal Japanese stereotypes that actually eats people...Yet despite big, big, BIG problems, Valerian still manages to eek out enough good ideas worthy of a tacit recommendation. The bustling city of Alpha, reminiscent of Venice during the Renaissance or Baghdad at the height of the Abbasids is certainly worth a look. Of course if the imagination inherent in a far-future sci-fi smorgasbord isn't enough to entice you, and you're more concerned with say story, plot etc. then I say read the graphic novels 24, 2017FAQ1Contribute to this pageSuggest an edit or add missing contentEdit pageMore to exploreRecently viewedYou have no recently viewed pages

The Fifth Element was arguably the most divisive movie of 1997. Having already garnered a reputation for style over substance, director Luc Besson’s vision of the mid-23rd century was brash and blunt. Detractors argued, perhaps not unreasonably, that Milla Jovovich could have been given more than a series of strategically placed belts to wear for the movie’s first half, and that Chris Tucker could have done more than scream at a pitch usually reserved for cowing dogs in its of whether its campiness was viewed as charming or exhausting, nearly every critic agreed that The Fifth Element was a visual spectacle. Besson’s manic take on New York City was inspired by the comic books he loved as a child, and he recruited French comic artists like Jean-Claude Mézières to help bring it to life. The image of Bruce Willis’ flying taxicab soaring through midair traffic was pulled straight from a long-running French classic Mézières co-created in 1967 Valérian and Laureline. Above Bruce Willis’ flying taxi in The Fifth Element. Below A similar design in Valérian and had dreamed of adapting Valérian and Laureline directly but considered it a technical impossibility due to the sheer number of aliens portrayed on its pages. Avatar changed his mind. If Pandora was possible, anything was. Besson tinkered with a script in-between other projects and called in every favor he could. In 2017, his dream came true with the release of Valerian and the City of a Thousand Planets. But in mixed reviews, was lauded for its visuals but dismissed as style over had changed in 20 years, even if Besson’s strengths and weaknesses as a filmmaker hadn’t. The Fifth Element was made in the waning days of practical effects. It featured just two uses of greenscreen and fewer than 200 special effect shots. Models and miniatures were the order of the day, one of them a moviemaking record 7,500 pounds. The entire budget was $90 $223 million Valarian — the most expensive European movie ever made — featured 2,734 special effect shots. Practically every shot of its two-hour-and-nine-minute runtime uses bluescreens to digitally insert special an interview with Deadline, Besson called The Fifth Element a “bicycle” to Valerian’s “supersonic plane.” Unfortunately for Besson, he was making the Concorde. The sleazy clubs and sprawling underwater vistas of space station Alpha are the star of the DistributionDespite a marketing onslaught, 2017’s filmgoers just weren’t interested in an original genre movie in the era of Marvel’s sprawling cinematic universe — especially one that opened to mixed reviews. That’s a shame because Valerian, for all its flaws, is mesmerizing. Sure, Cara Delevingne’s Laureline isn’t the most progressive heroine to ever grace the screen. And Clive Owen’s Commander Filitt might as well be wearing a t-shirt that says, “I will betray the heroes.” But there’s a childish glee to Valerian that’s absent from the Hollywood franchise churn. This is a movie where Rihanna plays a sultry shapeshifting dancer who’s trapped in indentured servitude by Ethan Hawke’s sleazy space cowboy. And yet, the whole affair barely registers as strange because it’s part of a larger effort to rescue Cara Delevingne from blob monsters who caught her with a giant fishing pole and are intent on serving her to their king as dinner — all of which is an aside into an investigation as to why a gigantic space station home to thousands of alien species appears to be under attack by an unknown adversary lurking in its radioactive core... You just have to let it all wash over effects bonanza aside, Valerian feels like it could have come out in 1997, for good and ill. Dane DeHaan’s Valerian is an unapologetic jackass of a hero, a sort of futuristic James Bond if the spy had attended Delta Tau Chi instead of Eton. Valerian’s rampant horndoggery and Laureline’s propensity to end up in skimpy outfits are both a rebuke of the bland chastity of modern blockbusters and a tired reduction of sci-fi to a genre for horny straight men. DeHaan and Delevingne’s acting could generously be described as Valerian works because Besson clearly had the time of his life making it, and that joy radiates from every strange frame. Laureline goes on an adventure with a steampunk submarine captain to acquire a psychic jellyfish to shove on her head, while Valerian has an elaborate shootout in an interdimensional tourist trap. Guns fire magnetized ball bearings to weigh down their targets, spaceships avoid attacks by breaking into dozens of smaller craft. Herbie Hancock appears, for some reason. Valerian teems with glowing, creeping, sliming aliens straight from the pages of Besson’s beloved with an interdimensional shootout in a Hawaiian shirt is a mission DistributionValerian was declared a box office bomb, albeit a conventional explosive rather than a sci-fi Tsar Bomba like John Carter or Jupiter Ascending. Regardless, it felt like the last gasp of big-budget idiosyncrasy. It’s hard to imagine another director being handed more money than it took to make Moonfall, Dune, and Godzilla vs. Kong while being subjected to so little also felt like the last gasp for Luc Besson who, a year after Valerian’s release, began to face accusations of sexual harassment and assault. While a criminal case against Besson was dismissed, his checkered personal history caught up with his reputation. His most recent film, 2019’s Anna, was a dire potboiler that passed by unnoticed, and his production company, EuropaCorp, is mired in financial potential comeback dubbed DogMan is on the horizon but, whatever comes next, Besson isn’t going to get to tackle a project like Valerian again. Nor, it seems, is anyone else. Valerian was a swing for the fences, and while it may have resulted in a bloop single there was still something beautiful to it. Valerian works because you’re never quite sure what the hell is going to happen next. It follows no formulas or franchise mandates, only the whims of its creator’s brain. As more and more blockbusters are churned out by corporate bureaucracy, that’s not something you can say often.

In the 28th century, Valerian and Laureline are special operatives charged with keeping order throughout the human territories. On assignment from the Minister of Defense, the two undertake a mission to Alpha, an ever-expanding metropolis where species from across the universe have converged over centuries to share knowledge, intelligence, and cultures. At the center of Alpha is a mysterious dark force which threatens the peaceful existence of the City of a Thousand Planets, and Valerian and Laureline must race to identify the menace and safeguard not just Alpha, but the future of the onSeptember 12, 2021Views163 viewsTaglineA universe without boundaries needs heroes without HDDuration 136 MinRelease20 Jul 2017LanguageFrançaisBudget$ Jafri, Aguendia Fotabong, Akim Chir, Alain Chabat, Alain Etoundi, Alexandre Nguyen, Alexandre Willaume, Anders Heinrichsen, Andrew Tisba, Anthony Hornez, Audrey Kamp, Aurelien Gaya, Aymeline Valade, Barbare Weber Scaff, Ben Mauro, Benoît Jacquot, Cara Delevingne, Cédric Chevalme, Charly Akakpo, Chloé Hollings, Christopher Swindel, Cindy Bruna, Claire Tran, Clément Beauruelle, Clive Owen, Dane DeHaan, Daphnée Kbidi, David Clark, David Michie, David Saada, Diva Sicard, Doug Rand, Elizabeth Debicki, Elliot Jenicot, Emilie Livingston, Emilie Pommelet, Eric Lampaert, Eric Rochant, Ethan Hawke, Étienne Ménard, Fayet Nsumoto, Florian Guichard, François Bredon, Gaëtan Cotigny, Gavin Drea, Gérard Krawczyk, Grant Moninger, Guillaume Maison, Herbie Hancock, Hippolyte Burkhart-Uhlen, Irene Palko, James Flynn, Jean-Christophe Brizard, Jean-François Lenogue, Jean-Robert Lombard, John Goodman, Jonas Bloquet, Judith Brunett, Julien Bleitrach, Julien Marlin, Kris Wu, Kristina Kachinskaya, Laminé Ba, Laurent Ferraro, Lee Delong, Leonid Glushchenko, Louis Leterrier, Mahamadou Coulibaly, Marie Barrouillet, Marilhéa Peillard, Marion Roussignol, Mathieu Kassovitz, Maxime Babara Touré, Maximilien Seweryn, Mikael Buxton, Nick Marzock, Noam Frost, Ola Rapace, Olivier Megaton, Patrick Cottet-Moine, Paul Lefèvre, Pauline Hoarau, Pauline Serreau, Peter Eberst, Peter Hudson, Peter Lamarque, Philippe Rigot, Pier Ewudu, Pierre Cachia, Reginal Kudiwu, Rihanna, Robbie Rist, Roman Blomme, Rutger Hauer, Sam Douglas, Sam Spruell, Sand Van Roy, Sasha Luss, Sija Titko, Sissi Duparc, Staiv Gentis, Stefan Konarske, Stéphane Mir, Tania Dessources, Thierry Barthe, Thom Findlay, Tom Hygreck, Tonio Descanvelle, Tristan Robin, Tristan Zerbib, Velvet D’Amour, Veronika Khayla, Xavier Giannoli, Yannick Lorté, Yun Lai, Yun-Ping He, Yvan Lucker, Zouheir Zerhouni

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