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cripplinganxietyflix · 7 years

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I saw Valerian.

If you’ve ever spoken to me at length about movies, there’s a good chance my thoughts on “headache cinema” have come up. It’s an umbrella term I’ve come up with that encompasses the deluge of loud, obnoxious, brainless, neutered, hundred-million-dollar-budgeted trashfests that are destroying theater culture as we know it. I’m talking about the Disney’s Marvel franchises, the post-Matrix Wachowski migraines, the Transformers films- head-exploding visual fuckfests that leave the average adult feeling like they’ve crawled out some hellscape version of a McDonald’s play palace birthday party. This brand of film is easily my least enjoyed and most disliked. The vast majority of the time these movies are castrated down to a PG-13- or worse, a PG!, they’ve got bloated budgets, dumb plotlines, stupid dialog, and best of all: punching, loud noises, explosions, TOTAL SENSORY OVERLOAD.

For many years I have hated superhero movies and glazed over at Hollywood’s air-horn retreads of movies like Clash of the Titans and Independence Day: Resurgence and the recent Ghost in the Shell mishap. I hate movies like this and I find them at least majorly to blame for the death of the hard R-rated action flick. There are exceptions to the formula, like Mad Max: Fury Road, the 2014 Godzilla, and Dredd, but generally speaking, they’re unwatchable. I will be the first to admit that I’m not a big fan of whimsy, but I will be happy to defend my position on this. Giant blockbuster action movies are generally dumb and boring if you’ve got more than two brain cells to rub together. I do try to balance my feelings about people who like brain-dead, ham-fisted, infantile PG-13 sci-fi action movies with my penchant for unrepentantly trashy, low-brow 70s and 80s exploitation horror films. I know for a fact that there’s a certain segment of cinema elitists who would see my interest in that subgenre as an undeniable sign of being a philistine troglodyte, which slightly tempers my extreme prejudicial judgment of those who love headache cinema.

I can pick up the hanging thread to unravel this tapestry. It’ll lead you through all of the recent loud crashing DC fiascos and the rainbow of annoying apocalypse and disaster films and CG shitshows. Once you hit the Star Wars prequels, you’re getting close. But the film that started all of this hatred is Luc Besson’s The Fifth Element, easily in my top five most despised films of all time (that’s a list for another day!).

It feels a little bizarre for me to say that I hate Luc Besson. Léon: The Professional is one of my favorite films of all time, and easily my favorite film of 1994. But aside from that and 1990′s La Femme Nikita, I find Besson wholly intolerable. His movies tend toward obnxious, incomprehensible, overwhelming, anxiety-inducing horse shit. And while many people are happy to agree with me, it seems no one outside of myself is willing to slaughter the sacred cow that is The Fifth Element. Some see a sci-fi fantasy classic, I proffer that it’s a grotesque panacea of ADHD, loud noises and cringey acting. To Besson’s credit, most of the time his films don’t take themselves seriously, and that’s fine. But The Fifth Element is the first film in my memory where I felt literally assaulted and invaded by the unfettered gaudy head-spinning madness of big, loud, overwhelming movies. My level of general calmness could be compared to a that of a frightened rabbit with combat shock, so I try to be cognizant that this dislike has less to do with objective quality and more to do with my personal preferences and tolerance levels. Let’s be real- I’m a person with severe, crippling anxiety. Headache cinema is not made for me.

That being said, I saw the trailers for Valerian and the City of a Thousand Planets, and I immediately started getting Vietnam flashbacks of Chris Tucker in a wig and leopard print jumping out of my television and screaming into my face. My significant other has a much more relaxed attitude toward these things and a seemingly endless well of patience for Luc Besson, so I had a feeling I was going to end up seeing this film in theaters and I started mentally preparing for it. And I’m really glad that I did all that emotional gestation, because I found Valerian to be surprisingly tolerable, aside from being a chaotic discombobulation of ideas that all generally have the potential to be good but fail because Luc Besson must have the attention span of a squirrel. And squirrels plant trees because they literally can’t remember where they’ve left their nuts. I couldn’t dream of a better summation of why Luc Besson turns nearly everything he touches into abject shit.

Valerian is essentially a very straight-forward narrative about a couple of federal agents (?) in space (???) who uncover a conspiracy involving a group of displaced aliens. They spend the film unraveling a mystery surrounding an enigmatic void in the middle of a space ship (?) or man-made planet (???) that contains thousands of different species from throughout the universe that live in surprising harmony. The alien refugees and the void on the ship or planet are related, you will later find.

That’s basically it. It’s a simple storyline with simple elements like “war is bad” and “the powerful oppress the powerless” and “love is universal and always wins.” If you dig down past all of the color and noise and distraction, that’s the basic bedrock. I think I was expecting this movie to be a convoluted mess, and to a great extent it absolutely was. But I wouldn’t say that the story was the weakest part of the film.

What did some substantial damage was the acting and dialog. The two leads had no chemistry and the actor playing the title character (Dane DeHaan) had a stunning drought of charisma. I think that his opposite, Cara Delevingne, has the potential to be a fun leading lady, but she never had a chance in this movie. The love angle was hackneyed and totally unnecessary to the point that the film would have fared much better if Valerian and Laureline were friends instead of a ~~will they or won’t they???~~ couple. I thought it was insulting to my sensibilities, and that sucks since the romance thing was such an ingrained aspect of the movie. I couldn’t tell if they were even in a relationship with each other or if Valerian had puppy love and Laureline has simply spent their entire careers fighting off his advances only to reluctantly agree to marry him after the film’s climax. This film could have really used a competent screen writer. I think I even could have lived with some of the eye-rollingly dumb but baseline-acceptable dialog you hear in Disney’s© Marvel™ Avengers Part 2: Electric Boogaloo. The villain (played by Clive Owen) was such a stupid caricature of literally everything that is wrong with Bad Guys in major American cinema- instantly hate-able, predictable, no angle or point of sympathy, stupid rationale for his actions-type of shit. And what’s really frustrating is that the Owen’s villain had a completely rational and utilitarian motive for his actions. But that gets torpedoed by the giant flashing neon signs that say “HE’S THE BAD GUY” and “EVIL PIECE OF SHIT” hanging over his head in every scene he’s featured in. It absolutely felt like the characters were totally empty and needed to be reworked from the ground up. I even thought Rihanna’s character had more depth than either Valerian or Laureline. Valerian’s a by-the-books soldier with a heart of gold? Could have fooled me! Laureline’s a toughgirl with a penchant for violent overreaction but still maintains a balanced moral compass? Hard to see through the horse shit nonsense they wrote for her. Character development and the script were both a total, unmitigated disaster.

Another thing that I think the film failed at was building tension. Everything felt a little too whimsical and inconsequential. In the beginning, a bus full of mercenaries (?) is attacked by a violent hexapedal alien and Valerian and Laureline watch all of them die savagely with nothing more than a smirking “glad we made it outta that scrape!” reaction. It never really feels like they’re in any danger or that there’s any emotional peak or valley for the characters, with maybe a single, small exception. You watch a lot of people get shot to death and even a head get blown clean off and another cut right in half, but it all seems so cartoonish and trivial that you can’t help but feel like nothing really matters and it’s all just a low-stakes video game.

But I don’t want to give you the impression that this movie is a complete trainwreck (it tries, believe me). There were things that I liked and appreciated. The visuals and alien designs were inventive and there was never really a moment where you couldn’t get lost in the scene. It kind of felt like Rick and Morty without the nihilism and good writing. Everything was very colorful, the universe felt very inhabited. Around halfway through, Valerian and Laureline have an almost brilliant run in with a species of giant food-obsessed frogs (I actually went through the trouble of looking it up; they’re called Boulan-Bathors) and I found the whole scenario to be kind of charming and cute. I didn’t really mind Rihanna’s cameo. The refugee aliens, the Pearls, were cool and appealing in the same translucent way as the Engineers of Prometheus. While I definitely felt some Avatar vibes, the whole opalescent, iridescent aesthetic was visually pleasing and I really liked the semi-androgynous thing they had going on.

I think the strongest part of this film is the first several minutes that lays out Earth’s journey into space. It was beautiful and touching and enough to make you feel really depressed about the state of our space exploration programs and the hopelessness and polarization of our world affairs. I would liked to have seen more of a thematic connection to the introduction because it felt extremely dissonant with the rest of the movie, which, by comparison, is hard to feel particularly emotional about. If you’re not planning on seeing Valerian, I would at least recommend watching the first few minutes. If the movie had come full circle to it, you can see how it could have been brilliant.

Overall, Valerian is kind of a giant mess, and by all means I should have absolutely hated it, because it is textbook headache cinema. I think that there was a wide dearth of missed opportunities with the material, and with a more competent screenwriter, a better cast, and maybe someone else in the director’s seat, we’d be talking about a viable start to a franchise. But too often Valerian ties its own shoelaces together and eats shit and expects us to be engrossed and entertained. The relationship between Valerian and Laureline- both as a friendship, coworkership and romance- either needed to be reengineered from the ground up or scrapped entirely. I think Dane DeHaan was totally wrong for the part of Valerian and I could see this movie succeeding in more ways had someone with more charisma been the leading man. Valerian desperately needed some tension, and the total absence of crisis or consequence left an unbridgeable emotional void. It’s beautiful- but it’s a mess, and that seems to be Luc Besson’s calling card. I doubt we’ll ever see another Léon, but if Besson’s next film is as much of an improvement on Valerian as Valerian was on Lucy, then we might have the potential to see something really special. And maybe in five to eight years when everyone has forgotten about this spectacle, we’ll get a decent reboot for the Valerian material.

★ ★ ½

#valerian #luc besson #the fifth element #cara delevingne #dane dehaan #clive owen #movies #movie reviews

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