In the pantheon of 21st-century science fiction cinema, few films have dared to be as visually audacious, colorfully bizarre, or genuinely ambitious as Luc Besson’s 2017 adaptation of the classic French comic series, Valerian and the City of a Thousand Planets . While the film received mixed reviews upon its release, focusing heavily on its lead actors’ chemistry, time has been surprisingly kind to Besson’s magnum opus. To discuss Valerian and the City of a Thousand Planets today is to discuss a work of art that prioritizes world-building over plot, imagination over restraint, and spectacle over subtlety.
However, in recent years, viewers watching the film on streaming services have warmed to the pair. Removed from the hype and high expectations, the awkwardness becomes endearing. They feel like two coworkers forced to save the universe, which, narratively, they are. While the leads struggle, the supporting cast soars. Clive Owen delivers a delightfully slimy performance as Commander Arun Filitt, the human leader with a dark secret. Ethan Hawke steals his entire scene as Jolly the Pimp, a flamboyant, frog-like alien running a shape-shifting cabaret club (featuring a memorable cameo by Rihanna as Bubble, a polymorphic entertainer). Rihanna’s dance sequence, where she shifts through ten different forms in two minutes, is genuinely breathtaking—a silent film-era performance within a CGI blockbuster. Themes: Colonial Guilt and Ecological Collapse Beneath the neon lights and laser fights, Valerian and the City of a Thousand Planets has a surprisingly heavy conscience. The Pearls of Mul are not warriors; they are peaceful, empathetic creatures destroyed by human greed. The human general’s excuse—"We thought they were enemies"—is a direct allegory for real-world military mistakes, from My Lai to drone strikes. Valerian And The City Of A Thousand Planets - E...
You require tight pacing, believable romance, or gritty realism in your space adventures. Valerian and the City of a Thousand Planets remains a testament to the power of a singular vision. Luc Besson wanted to show us a universe where a thousand species live together under one roof, and he succeeded. That it stumbles on the human element is almost ironic—in a city of a thousand planets, the hardest thing to write is a good conversation between two people. But for those willing to look past the cracks, Alpha is waiting. And it is glorious. In the pantheon of 21st-century science fiction cinema,
Critics argued that the film needed older, more seasoned actors (some suggested a young Bruce Willis and Milla Jovovich, reprising their Fifth Element vibe). The age gap (DeHaan was 30, Delevingne 24) isn’t the issue; it is the energy . Besson’s dialogue—fast, quirky, and European—works best when delivered with a wink. DeHaan does not wink; he broods. However, in recent years, viewers watching the film
This article dives deep into the making, the universe, the triumphs, and the shortcomings of Valerian and the City of a Thousand Planets , exploring why it remains a cult classic in waiting. Before Star Wars , before Dune , there was Valérian and Laureline . Created by Pierre Christin and Jean-Claude Mézières in 1967, the comic series ran for over four decades, influencing virtually every sci-fi creator who came after it. George Lucas has openly cited Mézières’s designs—specifically the bustling city-planets and worn-down spaceports—as direct inspirations for the Star Wars universe.