If Valerian and the City of a Thousand Planets didn’t work with audiences, it may be because director Luc Besson was saddled with an impossible standard. The Fifth Element, his first stab at SciFi, was jam-packed with quirky choices and logic loops in service of a colorful, magical action-packed romp that set a high water mark for offbeat speculative blockbusters.
Ron Charette joins me and a pile of hot wings as we scrape the blob of paint Besson tossed at the wall and dig into what makes The Fifth Element pop. Is it the opera scene? Negative, it is a meat popsicle.