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.

All I’ve seen from Luc Besson since The Fifth Element has been trailers for The Messenger and Angel-A, so I’ve been thinking of him as this slick-ass hyper-stylist, forgetting the earlier action grit of The Professional. Well, this one takes The Professional, drops a load of dirt on its head and plants it firmly in the 80’s. So it’s got that pre-Reservoir Dogs, pre-CGI version of hyper-stylization, which from today’s perspective makes it hard to discern from its anonymously-directed peers like Predator or License to Kill.

Or maybe I wasn’t paying enough attention because I was busy being horrified by the lead character (Anne Parillaud, who somehow went on to be a Catherine Breillat regular), introduced as a strung-out nihilist who shoots a cop in the face. I wonder if the TV remake used that scene. The movie proceeds to stretch believability even more than Predator, as the government (personified in “Bob”: TchĂ©ky Karyo of The Patriot, Wing Commander) gives her weapons and trains her to be a secret assassin. I thought it really came to life whenever Jean Reno was onscreen, but maybe I’m just a big Jean Reno fan.