Lo digo en serio: Rihanna me resulta interesante cuando es Bubble.
Lo digo en serio: Rihanna me resulta interesante cuando es Bubble.
Salvo las grandes sagas (Star Wars, Star Trek) o grandes factorías (Guardianes de la Galaxia, Vengadores...) en los últimos años parece que cualquier película del género es ya prejuzgada y metida en el saco de "un refrito malo de Star Wars" o calificativos similares. Tampoco se han hecho obras maestras la verdad, aunque personalmente soy de (a falta de algún día revisionarla) los pocos fans de 'John Carter'.
La que nos ocupa, en el trabajo del director más parecido a su entretenidísima y altamente revisionable de forma constante 'El quinto elemento', es un film entretenidísimo, lleno de luz, color, fantasía y buenos entornos y efectos especiales. Con personajes de todo tipo, chascarrillos varios y un universo nuevo en el que casi cualquier cosa es posible y cualquier tipo de criatura o de sorpresa puede aguardar tras una esquina. Si bien es cierto que su argumento general es bastante típico y predecible, son los miles de detalles que la acompañan lo que la hacen altamente disfrutable.
Nota: 6'5
Otro que aprecia mucho John Carter, aquella me parece mucho más elegante y "digerible" que esta Valerian.
Lo que me sucede a mí es que yo me quedo con el Luc Besson antes de El quinto elemento. El gran azul, Metro, Leon el profesional, Nikita, Atlantis, etc...; con El quinto elemento (film que nunca me hizo mucha gracia) entró en esa espiral de excesos que sinceramente, nunca he entendido. Valerian entretiene para un poco, no para dos horas y cuarto de metraje. Situaciones y chascarrillos tiene, pero que me resultaran atrayentes, graciosos, en mi caso dos nada más. Por lo demás, exceso de FX (algunos demasiado evidentes), exceso de decorados (cantan muchísimo), y ese estilo de diseño y vestuario, que vale que estén basados en un cómic, pero es que ...es todo demasiado artificial e irreal. Si al menos hubiera rodado las escenas con algo de imaginación...pero es que ni eso, todas las escenas de acción están demasiado vistas, sinceramente.
Entretenida sin más. Un pase, y a olvidarla. Lo mejor de la película: el traficante ET de los primeros minutos y sus diálogos, y la criaturita duplicadora. Creo que actúa mejor que la propia Cara Delevingne...
Buy it... if you faithfully admire Alexandre Desplat's unparalleled execution of orchestral textures, his composition's complexity demanding countless repeated listens to fully appreciate
Completamente de acuerdo. Una puñetera pasada.
9,5
"Personally, I think that as long as the artist can continue to have the enthusiasm to refine the work, they should do it. But I don't think that studios or other people should be allowed to go and tamper with something just because they want to put it on television, or they want to take it from black and white to color, or they want to have a more contemporary score on it."
George Lucas
(...)
Having been recently removed from Star Wars: Rogue One, Desplat's transition on Valerian and the City of a Thousand Planets represented a relief to fans eager to hear the composer's space opera variant to his much revered, incredibly intellectual music for The Golden Compass and Godzilla. Without a doubt, Desplat delivers the goods in the 2017 fantasy epic on the technical front; rarely does film music exist in such startlingly overwhelming complexity in this era. The composer's writing style is so massively intricate in its orchestrations and hyperactive level of activity that you cannot help but appreciate this score as a marvel of texture. All the Desplat techniques you've heard before are on affectionate display here, from wildly fluttering woodwinds to synthetic bass pulses, and there are times when you must revisit an action cue several times to take note of all the concurrent lines of performance, particularly on brass, in this work. Some nods to the furious wall of sound approach of Elliot Goldenthal in Final Fantasy and others is made, including the obnoxiously suspenseful trilling trombone technique. Desplat supplies love to a woodwind section like none other, using flutes especially as well as John Williams to supply the full sonic spectrum something to do at any given moment. The synthetic elements in Valerian and the City of a Thousand Planets are tastefully applied, even those bass thumps that tend to ruin less frenetic Desplat scores. (That said, they are pretty irritating in parts of "Showtime;" Desplat's truest collectors have probably grown immune to that sound.) Arguably his most electronically manipulated cue, "Medusa," is actually a highlight of the score in how it uses a processed piano in a driving bass rhythm (under those wild flutes and resolute brass lines) to create the tension of a countdown. One can't help but compare this ticking clock technique in a slow crescendo of ominous force by Desplat to the Hans Zimmer crew's far less interesting application of the equivalent technique in the concurrent Dunkirk.
"Personally, I think that as long as the artist can continue to have the enthusiasm to refine the work, they should do it. But I don't think that studios or other people should be allowed to go and tamper with something just because they want to put it on television, or they want to take it from black and white to color, or they want to have a more contemporary score on it."
George Lucas
Por cierto, orden correcto de la banda sonora, imprescindible para su adecuado disfrute:
CD 1 - The Score
01. Alexandre Desplat - Pearls on Mul
02. Alexandre Desplat - Reading the Memo
03. Alexandre Desplat - Big Market
04. Alexandre Desplat - Flight Above the Big Market
05. Alexandre Desplat - Showtime
06. Alexandre Desplat - Valerian in Trouble
07. Alexandre Desplat - Bus Attack
08. Alexandre Desplat - Arriving on Alpha
09. Alexandre Desplat - Pearls Attack
10. Alexandre Desplat - Valerian's Armor
11. Alexandre Desplat - Spaceship Chase
12. Alexandre Desplat - Submarine
13. Alexandre Desplat - Medusa
14. Alexandre Desplat - Shoot
15. Alexandre Desplat - Fishing for Butterflies
16. Alexandre Desplat - Le Souper du Roi
17. Alexandre Desplat - Boulanbator Combat
18. Alexandre Desplat - Bubble
19. Alexandre Desplat - Pearl's World
20. Alexandre Desplat - The City of 1000 Planets
21. Alexandre Desplat - I am a Soldier
22. Alexandre Desplat - Pearls Power
23. Alexandre Desplat - Final Combat
CD 2 - The Album
01. David Bowie - Space Oddity
02. Cara Delevingne - I Feel Everything
03. Bob Marley & The Wailers - Jamming
04. Wyclef Jean feat. Refugee Allstars - We Trying to Stay Alive
05. Alexiane - A Million on My Soul (Radio Edit)
06. Quasimoto - Rappcats (Instrumental)
07. Julien Rey - Bubble Dance
08. Charles Bradley - The World (Is Going Up in Flames)
09. Alexiane - A Million on My Soul (Original Version)
"Personally, I think that as long as the artist can continue to have the enthusiasm to refine the work, they should do it. But I don't think that studios or other people should be allowed to go and tamper with something just because they want to put it on television, or they want to take it from black and white to color, or they want to have a more contemporary score on it."
George Lucas
Pedaaaaaaaazo de coñazo de pelicula.
Ahi lo dejo... no vale la pena entrar ni en el debate del porque.