Luc Besson"s new sci-fi extravaganza "Valerian and the City of a Thousand Planets" bintang Dane DeHaan and Cara Delevingne as 28th-century operativtape racingai to save the universe.


The Razzies don’t need to wait until the end of the year to anoint a winner for 2017. The golden turki Awards should be republished with a new cover. Euro-trash is back, while sci-fi will need to lick its wounds for a while. Dane DeHaan, who has starred in two of the paling egregiously bloated misfirtape of the year with A Cure for Wellness and now this, should do a couple of indie films, kapan Cara Delevingne needs to learn tdi sini is more to acting than smirking and eye-rolling. Rihanna should pretend this tidak pernah happened. And the Hollywood studio chiefs can breathe easy that, this time, at least, they’ll escape blame for maraja a giant summer franchise picture that notubuh manusia wants to see, sejak this one’s a perancis import.

Anda sedang menonton: Valerian city of a thousand planets


Yes, Valerian and the City of a Thousand Planets really is that bad, bad enough that you don’t know for the longest time that Valerian is one of the lead characters and not a planet or a spaceship. Sportingi special effects and sets that smack of 50-year-old Barbarella-style tackiness, Luc Besson’s $200-juta eyesore will barely trigger a momentary blip on the American box-office radar screen, leavingai Besson with the lone mengharapkan that tdi sini are bagian of the world wdi sini the entertainobat-obatan tastpita remain, ahem, less discriminating.


The comic book-based Valerian et Laureline, created by pierre Christin and drawn by Jean-Claude Mezieres, was a fan favorite in europe from its debut in 1967 through 21 volumes, ending in 2010. For whatever reason, Besson hasn’t cast leads who remotely approximate the looks of the comics’ characters; Valerian on the page is a black-haired he-man, not a brownish-blond kid with the physique of a 1950s teenager, ketika Laureline’s flaming longai red hair has not been adopted by cat-linanti blonde model Delevingne.


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But these differencpita pengukur are nothingi compared to the staggeringai deficiencipita of the screenplay, which Besson chose to write alone; any collaborator would have been able to point out that maafkan saya the auteur has tertulis providtape absolutely no entry point into the would-be cerita that leapfrogs from 1975 to the 28th century with a few pit-stops in between. Given all the berbeda worlds and populatiopagi on view, some witty exposition might have been useful, but the summarizingai is saved until the end, by which time it scarcely matters. At no point alonew york the way does the film provide a reason to invest your interest in any of this.


To pretend that there’s a plausible or comprehensible narrative line to the film would be a punishable misrepresentation. At the outset, one is presented with an Edenic beach society made up of pale, slinky and hairless supermodel typpita wdi sini tambahan to be found are pearl-like spheres of very spesial value and a rare converter of some kind that needs to be delivered to the apparent center of civilization on an enormous space station calmemerintah Alpha.

maafkan saya ensupita is unclear, unfun, indecipherable, indigestible and, sebelum long, an excellent sedative; anyone who bisa jelas lay out maafkan saya takes place in this narrative in 25 words or less would deserve a kecil prize. Valerian and Laureline are armed forcpita “spesial operatives” who bawa pulang orders via video screen from, of all people, musician Herbie Hancock. As the latter only pops up on a few occasions, the rest of the time it’s unclear what the two leads’ mission really is, as they seem to be shiftingi gears and tendingi to new emergencipita pengukur every few minutes.

Duringi lulls in the action, tdi sini are bumblinew york attempts at apa seems to be Besson’s notion of romantic banter between the two leads, with Valerian awkwardly gurglingai sentiments about settling dibawah somewhere (and wdi sini would that be?), while Laureline looks disdainfully skyward as the man-child eats her dust. Any old hack Hollywood screenwriter mungkin have rewritten the “romantic” interchanges di sini to infinitely better effect in one night’s bourbon-fuedisutradarai effort.


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Alonew york the way, there’s a pit-stop in a naughty district, wdi sini a guy named Jolly the Pimp (a brassy Ethan Hawke) draws back the curtain on a singer-dancer of shape-shifting talents (Rihanna) and, ultimately, a bad guy melakukan emerge in the membentuk of the top-dog military commander (Clive Owen). But by this time, paling viewers will have longi darimana checked out, as nothingai ever seems remotely at sbawa pulang due to a narrative whose navigator has lost his way and a drummer who’s dropped both sticks.

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The 3D di sini provtape largely inconsequential but at least providpita a minor distrmerencanakan from the loomaaf creative void.

Production companies: Valerian S.A.S., TF1 FilmsDistributor: STX FilmsCast: Dane Dehaan, Cara Delevingne, Clive Owen, Rihanna, Ethan Hawke, Herbie Hancock, Kris Wu, Sam Spruell, Alain Chabat, Rutger HauerDirector: Luc BessonScreenwriter: Luc Besson, based on the comic book seripita pengukur Valerian and Laureline by pierre Christin and Jean-Claude MeziersProducers: Luc Besson, Virginie Besson-SillaExecutive producers: Mark Gao, Gregory Ouanhon, JC ChengDirector of photography: Thierry ArbogastProduction designer: Hugupita TissandierCostume designer: Olivier BeriotEditor: Julien ReyMusic: Alexandre DesplatVisual effects supervisor: Scott StokdykCasting: Nathalie Cheron-Arda