“It’s not an easy thing to meet your maker.”
I remembered noir detective Harrison Ford tracking rogue artificial humans Rutger Hauer and Daryl Hannah through a future city, but did not remember the replicants convincing childlike inventor/toymaker William Sanderson to bring them to their maker Terrell (Joe Turkel wearing stop-sign glasses). First time watching the “final cut” edition on blu-ray, and it was glorious.
A John Carter-like attempt to film an influential comic which many sci-fi movies (including Besson’s own Fifth Element) have been ripping off for decades. I’ll bet this was better in 3D. The movie seems to want to be in VR, having Valerian put on special glasses when he wants to see into other dimensions (recalling Freddy’s Dead).
The Pearls, a peaceful race of white Na’vi, live on Shell Beach with their pets who can shit dark matter, until their planet is destroyed as collateral damage in a space war led by Commander Clive Owen. Survivors have invaded the International Space Station (now a massive free-floating city of a thousand alien races) and learned all the alien techs to built themselves a supership Shell Beach simulator. Commander Clive sees all this as a threat, and sends soldiers to stop them, or something.
But first, Major Tom Valerian (Dane DeHaan: Lawless, A Cure for Wellness) is sexually harassing his coworker Laureline (Cara Delevingne: London Fields, Paper Towns). According to my Alamo Drafthouse waiter, their relationship made some kind of sense in the original comics, but human behavior isn’t Besson’s strong suit, so he’s botched it. These two are sent to interrupt a trade between Pearls and a Hutt unmistakably voiced by John Goodman, and during their escape a bulletproof rhinobeast wipes out their team.
Valerian’s boss, the General, looks like a Weasley but is actually Sam Spruell of Snow White and the Huntsman… then there are a series of higher-ups played by Rutger Hauer and Herbie Hancock who we barely see. Our team is eventually separated, and Laureline goes underwater with a beardy submariner named Bob (Alain Chabat of The Science of Sleep) while Valerian gets help from a shapeshifting Rihanna (after murdering her pimp Ethan Hawke), who does a dance which will be my most-watched scene on netflix once it comes out.
Some effects shots are very cartoony, not fooling anyone, and the action choreography is quite bad when viewed the day after Atomic Blonde. The very long info-dump ending is bad, the plot is mostly bad, the teaching Valerian about the meaning of love is bad, so I spaced out in the last half hour and tried to figure who Dane DeHaan reminds me of – is it Nicolas Cage? He’s fine, don’t get me wrong – all the acting and filmmaking is generally spot-on, just in service of a poor script. There is one great bit in the ending: Laureline is left alone with Commander Clive and just keeps punching him.
Rutger Hauer plays Bruegel planning his painting “The Way to Calvary,” as Majewski uses CG backdrops a la The Lady and the Duke, posing actors (including Charlotte Rampling and Michael “Basil Exposition” York) to create a series of motion tableaus instead of relying on dialogue and story. Like living inside a painting for a couple hours, a series of smaller compositions forming a part of a climactic larger one. I’m glad that at least in Poland it won costume and production design awards, which it richly deserved.
The Black Dynamite of trashy 80’s action/revenge flicks. Gets all the details right, but skips the boring parts – a trick House of the Devil could have learned.
Our hero Rutger Hauer rides the rails to the worst town in the world, which is controlled by super baddie Drake (Brian Downey of the show Lexx) and sons Slick and Ivan. He tries to stay out of trouble, meets a friendly prostitute named Abby. But one day they push him too far, and Rutger grabs a shotgun and cleans up this town. The dialogue could’ve been better but otherwise it’s a hella fun flick.