Valerian : the final trailer (Luc Besson is insane)
- Thread starter ViCiouS
- Start date
no excuse for me not to get a metroid movie in my lifetime
This shit has bust written all over it.
John Carter all over again
John Carter all over again
Unless you got a home theater setup or access to one...go see it at the movies Boss
Jupiter Ascending Into The Fifth Element 
and yes Luc is insane..for not doing that Leon follow-up,Matilda w/ Natalie Portman
and yes Luc is insane..for not doing that Leon follow-up,Matilda w/ Natalie Portman
The funny part is that John Carter was actually a very good movie. It was just marketed wrong.
I love how they flipped Coolio's "Gangsta's Paradise" for this trailer..
And yea John Carter was good, but hindered by atrocious marketing. Its crazy how these IP's that actually inspired most modern scifi seem to stumble commercially. Will be interesting to see how the new Blade Runner does
And yea John Carter was good, but hindered by atrocious marketing. Its crazy how these IP's that actually inspired most modern scifi seem to stumble commercially. Will be interesting to see how the new Blade Runner does
If it is hip-hop related, then many times it consists of sample based production. Like I said, I hope that more orchestrated hip hop versions are birthed.
I get where you are coming from, but this does not say stevie in the title.
and that was just as inaccurate as you two were.
No they were not. The song was GP which is an interpolation of SW's song.
If an orchestra plays Nas' "The World is Yours" to be used in a trailer, then the title will be listed as that song and not Ahmad Jamal Trio's "I Love Music." Even tho the latter is used heavily throughout the song.
Or if the Fugees' Ready or Not is used in a trailer recreated or not (no pun intended)....neither "Boadicea" from Enya, nor "Ready or Not Here I Come (Can't Hide from Love)" by The Delfonics will be mentioned in the title.
They will usually list more info in the packaging which is related to who the song's production credit (writer/producer/creator) should be given to.
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No they were not. The song was GP which is an interpolation of SW's song.
If an orchestra plays Nas' "The World is Yours" to be used in a trailer, then the title will be listed as that song and not Ahmad Jamal Trio's "I Love Music." Even tho the latter is used heavily throughout the song.
Or if the Fugees' Ready or Not is used in a trailer recreated or not (no pun intended)....neither "Boadicea" from Enya, nor "Ready or Not Here I Come (Can't Hide from Love)" by The Delfonics will be mentioned in the title.
They will usually list more info in the packaging which is related to who the song's production credit (writer/producer/creator) should be given to.
first off, lets cut to the chase.
Cue Sheet Info:
"Gangsta's Paradise (Coolio Cover)"
Artist - 2WEI
Written By Artis Ivey (ASCAP - 8.34%), Douglas Rasheed (BMI - 8.33%), Larry Sanders (ASCAP - 8.33%), Stevie Wonder (ASCAP - 75.00%)
Published By Jobete Music Co ( - 18.75%), Universal-Songs Of Polygram Obo Mad Castle Muzic ( - 8.33%), Wb Music Corp Obo Large Variety Music ( - 8.33%), Black Bull Music Inc ( - 56.25%), Shelly Bay Music Llc Obo Zefanator ( - 8.34%)
Coolio owns 8.34% of this song's writers credit, while Stevie gets 75% of them. Coolio HAS NO publisher's credits while Stevie owns 56% of it, which means he gets royalties for it.
musically and legally, Gangsta's Paradise IS Pastime Paradise, as Stevie Wonder commands the greater ownership (both as a writer and a publisher) of GP than anyone else.
secondly, interpolation in music means someone did something DIFFERENT with the NOTES, RHYTHM or SONG STRUCTURE. when a note is high in a melody or accompaniment an interpolation would include a sharp or flat or maybe going up or down an octave from the original note.
this IS NOT the case in this song. the strings used in Gangster's Paradise is not an interpolation, it is a direct sample from Pastime Paradise.
the drum beat for James Brown's Funky Drummer was used by Public Enemy in two different songs, then by Jay Z, Raekwon, Dr Dre and others. NOBODY says one of those songs sampled the other, they say the song has the "funky drummer" beat in it.
Thanks taking time out to post that report. But I grew with up listening to that album. It is still in a garage somewhere. I have friends and relatives in the music industry and in music legal. You are saying stuff that I pretty much already know and may have even hinted towards....but the average movie goer or youtube titler does not care about.
Most people who listen to music hardly care at all where a song, melody or note got lifted from if it was sampled by or from another artist....maybe unless they have heard if before. And thus some will still reference Coolio before Stevie Wonder....especially when it comes to some generation Xers and millennials.
And no, it does not make it right....but that is just how it is.
Case and point, Stevland Hardaway's name aint nowhere to be found in the titles (eventho like I said, it could still be buried in the credits somewhere):
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Valerian is an epic mess: EW review
CHRIS NASHAWATY@CHRISNASHAWATY
POSTED ON JULY 10, 2017 AT 8:00PM EDT
Valerian and the City of a Thousand Planets
TYPE:
Movie
GENRE:
Sci-Fi, Adventure
RELEASE DATE:
07/21/17
PERFORMER:
Dane DeHaan, Cara Delevingne
DIRECTOR:
Luc Besson
CURRENT STATUS:
In Season
MPAA:
PG-13
WE GAVE IT AC-
Mute
Current Time1:12
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Duration Time2:31
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Captions
Valerian and the City of a Thousand Planets. In a sense, the box-office success of the former have allowed him to indulge the latter. All of those bloody knuckle sandwiches pay for his cosmic cotton candy.
When The Fifth Element came out 20 years ago, it was so strange (space aliens in ancient Egypt, Bruce Willis and his flying taxicab, Milla Jovovich’s and her flame-haired squeak gibberish) that it took American audiences a while to really catch up with it. It was a commercial disappointment that gradually snowballed into a cult hit. Once dismissed, it’s now beloved. If I had to make a prediction, I’d guess that Valerian will suffer a similar fate. Its imagination is so outré and wild and its rhythms so idiosyncratic, that it’s easy to picture moviegoers not knowing what the hell to do with it until some far off date in the future. During the film’s intoxicating first 30 minutes, for example, I couldn’t decide whether what I was watching was brilliantly bonkers or total folly. Then, as the story went on, it came into sharper and sharper focus: Valerian is an epic mess.
But let’s be fair and go back to the good part: that first half hour. The film opens with a breathtaking montage scored to the slow build of David Bowie’s “Space Oddity.” First, it’s 1975, and we see the American Apollo and Russian Soyuz spacecrafts docking together for the first time. The astronauts shake hands, marking the end of the Cold War space race and the beginning of an era of cooperation in the heavens. Then the movie screen stretches out into widescreen for the birth of the International Space Station. Decade by decade, we see other nations now coming together in space, recreating that handshake of peace. Then centuries pass, and the next meeting isn’t just another international encounter, this is First Contact. We see a human welcoming party standing and waiting as they have in the past. Only this time, when the second craft’s doors open, out come aliens looking curiously at our outstretched palms. It’s a giddy and thrilling vision of the future and what may wait for us at the furthest reaches of the universe. And it sets a heady, lyrical, Bowie-fueled tone that the rest of the movie never matches. Not by a long shot.
Four hundred years later, we’re now on a planet called Mül. It looks like a Caribbean paradise with white sand beaches and turquoise waters. But it’s populated by a light-blue race of thin, elongated aliens right out of Avatar. Yes, they look as phony as any digitally animated movie (which, in a sense, I guess this sort of is). But you go with it. As these aliens coo in their gentle Babel language, frolic in the surf, and go about their peaceful lives, the skies open up and down comes fire and destruction. Hundreds of Mül people race into an escape ship to evacuate, some get left behind. It’s kind of silly, but also kind of moving as their planet is destroyed.
Cut to a human snapping out of a dream. Was this all just a nightmare he had — or some sort collective-unconscious distress call sent to him? The human’s name is Valerian, and he’s played by a sleepy-eyed, monotone Dane DeHaan with all the charisma and energy of a narcoleptic about to nod off. Valerian is a cocky space cop for the United Human Federation on Alpha, a bulbous constellation of a thousand planets smushed together like a crazy quilt of glass beads. We are now in a 28th-century world created 50 years ago by Pierre Christin and Jean-Claude Mézières in a series of French graphic novels, but the vision on screen is pure Besson—beautiful, baroque, and a bit bananas. As for the story that’s about to unspool, it’s a fairly rote MacGuffin-adventure about a small-fish hero and his plucky partner, fellow space cop Laureline (Cara Delevingne), tarted up with the best effects money can buy, a freaky menagerie of Mos Eisley-style aliens, miles of bad dialogue, and jokes that feel like they somehow got lost in translation.
Valerian and Laureline’s mission is to retrieve a “converter” and bring it back to their superior officer (Clive Owen), who we know is evil from jump street. The only question is how evil. This converter isn’t some fancy piece of machinery, but rather a cuddly armadillo-like alien animal that lays shimmery pearl eggs that are a power source for the thought-to-be-extinct people of Planet Mül. Got that? If not, don’t worry. Just substitute “Ark of the Covenant” or “Rosebud” or “Maltese Falcon” for the armadillo converter thing and you’ll be able to hack your way through the film’s laughable thickets of expositional gobbledygook. If your mind wanders (and it will), you’ll wonder how it’s possible that Besson put so much obsessive detail and care into his visuals and world-building and how little he’s put into his plot.
Still, the biggest problem with Valerian is…Valerian himself. The movie is cast badly. Both DeHaan and — to a lesser degree — Delevingne are all wrong. Maybe it’s a result of acting almost exclusively against a green screen, but both actors seem totally at sea. It’s easy to imagine how hard it must be to act opposite a sea of nothingness, but neither has anything close to the kind of commitment or conviction that someone like Bob Hoskins brought to Who Framed Roger Rabbit? DeHaan has managed to be good in bad movies before like A Cure for Wellness and The Amazing Spider-Man 2, but here, when he’s not being smug or bratty, he just fades into his more colorful surroundings. To be fair, with such colorful surroundings, most young actors would do the same. Owen, surprisingly, can’t find any shades to work with, either. He’s a gruff one-note villain, and it doesn’t even look like he’s having fun being bad.
Valerian and Besson strain so hard to sizzle your retinas and knock you out with the film’s oddness that it eventually becomes numbing — and then just exhausting. By the time Rihanna shows up as a shape-shifting cabaret entertainer and blows through a string of guises (roller-disco chanteuse, pole-dancing seductress, kitten-with-a-whip French maid), the whole thing just feels like a random WTF mess. Still, you have to give Besson credit for not playing it safe. He at least swings for the fences and doesn’t spoon-feed you the same old sci-fi clichés. That counts for something. Not enough, but something. And who knows, maybe a decade from now, Valerian will seem as ahead of its time as The Fifth Element was — your contrarian stoner buddy’s new favorite midnight movie. C–
http://ew.com/movies/2017/07/10/valerian-ew-review/
That music sounds like the song gangstas paradise.
all of the reviews are bad - so not expecting it to be good - but one day I'll set aside time because I've got to see what insanity Luc created
this isn't a Hollywood film...
LMAO at youngsters thinking that's Coolio's Music. 
Guess 
for Besson's trilogy plans(was going to adapt some of the other bopoks)
for Besson's trilogy plans(was going to adapt some of the other bopoks)
this a french film and you are forgetting about China - if this movie gets close to Warcraft numbers the sequel is setGuess
the way I see it - if you generally like Luc's work or are a fan of 5th Element - you had hopes for this and in my case I'll definitely see it but not in a theatre - shit I doubt I'll get to see Spidey in a theatre...Man who expected this to be good?????
If you saw any of the previous Spider Man movies in the theatre you owe it to yourself to see Spider Man homecoming.
As far as Luc Benson I liked the professional alot and the 5th element. Everything else he made I have not seen and have no desire to see
A good movie that the execs did not know what to do with. The source material feels dated or familiar because EVERY Sci Fi movie in our lifetimes has stolen something from it.
I'm talking to you, George Lucas.
LMAO at youngsters thinking that's Coolio's Music.
It still sounds like the sample that was in another movie "G.P." that's what I was getting at, not the original...jus sayin so glad you guys are assuming I had no clue the sample was from Stevie Wonder's "Pastime Paradise" but
I've never heard of that actual song used in a Movie just the G.P. sample in Coolio's song and now again for this movie that's
why I asked, thanks for the FYI you smart "Old Gangster " guys!
VALERIAN AND THE CITY OF A THOUSAND PLANETS REVIEW
MOVIE REVIEW
It's no secret that major studio blockbusters can be stunted by the environment in which they are created. Big budgets mean that there are a lot of important people looking over shoulders and generating notes, making sure that their money isn't being improperly utilized, and it can have the end effect of manufacturing bland, safe features that are meant to appeal to everyone. Watching Valerian and the City of a Thousand Planets, however, it becomes extremely clear that writer/director Luc Besson was given the opportunity to make exactly the film he wanted. And while that doesn't automatically generate perfect results, it does let it be one of the most gonzo, bombastic, and beautiful sci-fi features we've seen in recent years.
Having been a life-long fan of the Valerian and Laureline comics on which it's based, Luc Besson has carried the new movie as a passion project for decades (with new context, his beloved 1997 feature The Fifth Element feels like it was a training session). You can tell that he was waiting until the time was perfect to move forward, and from an effects stand-point he absolutely nailed it. There are segments of Valerian and the City of a Thousand Planets that essentially transport you to a different world with each new scene, and each one is more stunning than the last, brought to life with a blend of spectacular digital and practical artistry. It not only enhances everything incredible about the film, including the larger themes and expansive world-building, but also does its part to strengthen weak spots,such as the narrative flow and the chemistry between the two leads.
Opening with a century-spanning montage that deserves to go down as an all-timer in the science-fiction genre, Valerian and the City of a Thousand Planets begins hundreds of years in the future, where we catch up with interstellar agents Valerian (Dane DeHaan) and Laureline (Cara Delevingne) as they execute a dangerous mission to disrupt a black market deal in a desert planet's virtual marketplace (what feels like one of 10,000 fantastic concepts that find their way into the film). After losing some friends and making a few new enemies, they find themselves on their way back to Alpha -- an enormous space station that grows larger and larger as new alien species discover it and dock their own installations. It's here that the two heroes are provided a new task from their commander (Clive Owen), sent to investigate a growing threat at the heart of Alpha -- but as they dig deeper, they discover that not everything is quite as it seems, and the stories they've been told about what's going on are not entirely true.
Valerian and the City of a Thousand Planets is a film made up of big swings, and while a lot of them are great, it does take its toll on the storytelling, and some elements just don't work as they really should. A perfect example of this is the relationship between Valerian and Laureline, as Luc Besson does the cinematic equivalent of picking you up and dropping you into the deep end of the pool with the duo. The movie is impressively aggressive in getting across the former's love of the latter, and the latter's rejection of the former, which immediately puts the audience on an odd footing with them minutes after their introduction. Because there isn't really any context provided of their history together outside of being loyal partners, you're left throughout the movie never getting fully comfortable with them as a couple -- and the chemistry between Dane DeHaan and Cara Delevingne doesn't fully bridge the gap.
This same kind of messy ambition is also very present in Valerian's storytelling, as it finds itself trying to do so much in its second act that it winds up as a notable distraction from the primary narrative thrust. The movie never feels necessarily bloated, but it is certainly long (sporting a 137 minute runtime), and a significant part of that are the two consecutive rescue missions playing out in the middle. A part of you as a movie-goer is thankful, as both mini-plots allow the exploration of parts of Alpha that obviously you'd otherwise not see. The other part of you is acutely aware that this is what happens when a 50-page comic inspires a full-length feature. It's never great when you have to take a mental moment in the middle of a blockbuster to remember what the characters are trying to do, but in this case at least it's not devastating.
Of course, what you are truly meant to take away from Valerian and the City of a Thousand Planets is a banquet of weird creativity and ridiculousness, and it's served up as an exciting blockbuster feast (best enjoyed, by the by, in 3D). Luc Besson had decades of comics from Valerian and Laureline creators Pierre Christin and Jean-Claude Mézières to adapt and employ, and both the creature and production design is legitimately special. Each new idea, from mind-expanding jellyfish, to consciousness that can travel the cosmos, is smile-inducing, and it's amazing to see the surprisingly small, heavily-disguised performances from talent like Ethan Hawke, Rihanna, Elizabeth Debicki and John Goodman -- which serve to make the universe feel wonderfully huge.
The summer isn't quite over, but Valerian and the City of a Thousand Planets is certainly the frontrunner to be named the spectacle of the summer, and while many franchises have disappointed, this is a movie that ends with you wanting to see much more from the universe it introduces. It's visually stunning, beautifully prescient in its humanist themes (alien-ist too, I suppose?), and while its reach doesn't match its grasp in some respects, you're still left respecting the hell out of the reach alone
http://www.cinemablend.com/reviews/1679230/valerian-and-the-city-of-a-thousand-planets-review
MOVIE REVIEW
It's no secret that major studio blockbusters can be stunted by the environment in which they are created. Big budgets mean that there are a lot of important people looking over shoulders and generating notes, making sure that their money isn't being improperly utilized, and it can have the end effect of manufacturing bland, safe features that are meant to appeal to everyone. Watching Valerian and the City of a Thousand Planets, however, it becomes extremely clear that writer/director Luc Besson was given the opportunity to make exactly the film he wanted. And while that doesn't automatically generate perfect results, it does let it be one of the most gonzo, bombastic, and beautiful sci-fi features we've seen in recent years.
Having been a life-long fan of the Valerian and Laureline comics on which it's based, Luc Besson has carried the new movie as a passion project for decades (with new context, his beloved 1997 feature The Fifth Element feels like it was a training session). You can tell that he was waiting until the time was perfect to move forward, and from an effects stand-point he absolutely nailed it. There are segments of Valerian and the City of a Thousand Planets that essentially transport you to a different world with each new scene, and each one is more stunning than the last, brought to life with a blend of spectacular digital and practical artistry. It not only enhances everything incredible about the film, including the larger themes and expansive world-building, but also does its part to strengthen weak spots,such as the narrative flow and the chemistry between the two leads.
Opening with a century-spanning montage that deserves to go down as an all-timer in the science-fiction genre, Valerian and the City of a Thousand Planets begins hundreds of years in the future, where we catch up with interstellar agents Valerian (Dane DeHaan) and Laureline (Cara Delevingne) as they execute a dangerous mission to disrupt a black market deal in a desert planet's virtual marketplace (what feels like one of 10,000 fantastic concepts that find their way into the film). After losing some friends and making a few new enemies, they find themselves on their way back to Alpha -- an enormous space station that grows larger and larger as new alien species discover it and dock their own installations. It's here that the two heroes are provided a new task from their commander (Clive Owen), sent to investigate a growing threat at the heart of Alpha -- but as they dig deeper, they discover that not everything is quite as it seems, and the stories they've been told about what's going on are not entirely true.
Valerian and the City of a Thousand Planets is a film made up of big swings, and while a lot of them are great, it does take its toll on the storytelling, and some elements just don't work as they really should. A perfect example of this is the relationship between Valerian and Laureline, as Luc Besson does the cinematic equivalent of picking you up and dropping you into the deep end of the pool with the duo. The movie is impressively aggressive in getting across the former's love of the latter, and the latter's rejection of the former, which immediately puts the audience on an odd footing with them minutes after their introduction. Because there isn't really any context provided of their history together outside of being loyal partners, you're left throughout the movie never getting fully comfortable with them as a couple -- and the chemistry between Dane DeHaan and Cara Delevingne doesn't fully bridge the gap.
This same kind of messy ambition is also very present in Valerian's storytelling, as it finds itself trying to do so much in its second act that it winds up as a notable distraction from the primary narrative thrust. The movie never feels necessarily bloated, but it is certainly long (sporting a 137 minute runtime), and a significant part of that are the two consecutive rescue missions playing out in the middle. A part of you as a movie-goer is thankful, as both mini-plots allow the exploration of parts of Alpha that obviously you'd otherwise not see. The other part of you is acutely aware that this is what happens when a 50-page comic inspires a full-length feature. It's never great when you have to take a mental moment in the middle of a blockbuster to remember what the characters are trying to do, but in this case at least it's not devastating.
Of course, what you are truly meant to take away from Valerian and the City of a Thousand Planets is a banquet of weird creativity and ridiculousness, and it's served up as an exciting blockbuster feast (best enjoyed, by the by, in 3D). Luc Besson had decades of comics from Valerian and Laureline creators Pierre Christin and Jean-Claude Mézières to adapt and employ, and both the creature and production design is legitimately special. Each new idea, from mind-expanding jellyfish, to consciousness that can travel the cosmos, is smile-inducing, and it's amazing to see the surprisingly small, heavily-disguised performances from talent like Ethan Hawke, Rihanna, Elizabeth Debicki and John Goodman -- which serve to make the universe feel wonderfully huge.
The summer isn't quite over, but Valerian and the City of a Thousand Planets is certainly the frontrunner to be named the spectacle of the summer, and while many franchises have disappointed, this is a movie that ends with you wanting to see much more from the universe it introduces. It's visually stunning, beautifully prescient in its humanist themes (alien-ist too, I suppose?), and while its reach doesn't match its grasp in some respects, you're still left respecting the hell out of the reach alone
http://www.cinemablend.com/reviews/1679230/valerian-and-the-city-of-a-thousand-planets-review
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