When the title of the most expensive French film rolls all over the screen, you really wonder what you've been watching for over two hours. Luc Besson's ambitious comic filming Valerian and the City of a Thousand Planets is an overwhelming visual sensation, but also a rather confusing and relatively simple plot, an unnecessarily complicated company. Just half a century ago, the cult stripper Valerian and Laureline appeared so you can not really tell Besson that he has played london with Star Wars and Avatar. The director will probably have to be accountable to the public. There are even scenes and characters that are literally referring to the titles mentioned. Thus, we meet a Jabba the Hutt-like gangster, ending the heroes who are serving in a garbage compartment and is the city where the title refers to a metropolis with the dimensions of the Death Star. In the successful opening scene, we see under the guidance of - how is it different in a scifi show - David Bowies 'Space Oddity' how humanity has penetrated the universe ever since the 1970s. The American astronauts meet other world citizens in space and, as technology advances, alien races continue. The immense space city of Alpha has become a knowledge and meeting center of intergalactic cultures that became so gigantic at one point that it has to detach itself from the earth. Valerian and Laureline, in the eighteenth century, were specially trained in the task of detecting crime. Valerian, who does not wrap his wipes that he has an eye on his female colleague, receives in a dream the fate of the people of the planet Mül. The pale lean alien breed lived in full harmony with the elements and the capture of magic pearls with unprecedented energetic quality, until their planet became the battle scene of a space battle. Mül goes on and the same applies to six million of her residents. What follows is a very comprehensive and cumbersome mission to help the people back up, which begins with the disappearance of a commander. Through many wanderings and submissions, which seem to be primarily aimed at transforming the most enchanting scenes on the screen, Valerian and Laureline try to complete their mission. And that's exactly the shoe. Valerian is especially a visual spectacle, which does not seem to cost a lot of effort and the green screen has turned overtime. In all the splendor, Besson forgot the scenarios that he also had to write a coherent story. It has resulted in a whirlwind science fiction adventure with a lot of action and speed and especially a lot of weird creatures. Apparently, Besson has stopped two hundred space bags in his comic film. To look up the comparison again, even the Galactic Senate of The Phantom Menace can suck a little more. Valerian is therefore a combination of highlights in loose scenes, which in turn should be the best. A walk through an immense bazaar with a million shops in a different dimension, only visible with fittings. Or the insidious dance of singer Rihanna, changing every second of shape. A true visual treat on a big screen, which also starts with our own Rutger Hauer in a sidebar, but with that alone, Besson does not save it. Especially towards the end there will be a mess. Additionally, he sometimes collapses in an exaggerated mode of explanation, where he introduces other things that suddenly come in handy with plotsklaps and, therefore, seek easy outreach. Then there is also the constant tension between the characters of Dane DeHaan (still the weaker of the duo) and Cara Delevigne. In addition, their endless achievements and flirting are boring and, moreover, do not testify to Besson's highly creative writing. Valerian and the City of Thousand Planets is a wonderful escape from reality, but above all a series of beautiful pictures and a rarity cabinet of weird creatures and concepts.