Sadly, the minor characters are surprisingly dull, which is in stark contrast to literally everything else in the film.
Jovovich is instantly captivating as the fascinating Leeloo, she steals almost every scene she is in and again I wish we see more of the character. Tucker’s Ruby Rhod is outrageously ridiculous, verging on annoying.īruce Willis plays what we’re used to, the irreverent every man, but there’s a reason we’re used to this – he’s damn good at it. Oldman plays the maniacal villain Zorg, and it seems like he couldn’t decide on one distinctive trait so just gave him fifty. Willis and Jovovich lead the ensemble cast including Gary Oldman and Chris Tucker, who seem to be in a competition to see who can turn in the most over the top performance. The cityscape in itself had me craving more stories from within the towering metropolis. The world-building and attention to detail is breathtaking and you find yourself wanting to know more about the world. Watching in 2020 the CGI looks slightly dated which is to be expected but I imagine in 1997 you would be hard pressed to find better. This, however, works in the film’s favour allowing us to take in the weird and wonderful world Besson has created.īesson uses vibrant and explosive colours to bring his vision to life and it truly looks stunning. Thankfully, it takes a back seat, the malevolent force which is about to destroy life as we know it is noticeably absent for most of the film. Narratively, the film is all over the place and is incredibly hard to follow. In the future, space cabbie Bruce Willis finds the fate of the world in his hands when the job of uniting the five elements falls in to his lap, literally, in the form of Mila Jovovich who is effortlessly likeable in the role Leeloo.
The film begins in 1914 where we learn that in 300 years there will be an evil force that will destroy civilisation and the only way to stop this force is to combine the five elements of water, earth, wind and fire as well as a mysterious fifth element. However, upon rewatching, I am struggling to find the words to describe the experience. Having seen The Fifth Element when I was younger and having fond memories of Luc Besson’s 1997 cult classic, I was hesitant to revisit it for fear it wasn’t as good as I remembered.
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