The basic premise is straightforward: a man must rescue the World (set in the Future!) from Evil by safeguarding a Magical Macguffin—except in this case, the MacGuffin takes the form of a Girl! rather than an object. There isn't much story to be found here, nor are there particularly developed characters. It seems like valuable screen time was squandered on minor details when it could have been used for something else—like showcasing Chris Tucker as a flamboyant radio host in what feels like the most irritating sci-fi supporting role since George Lucas started making movies. Instead, the actors do an adequate job simply by playing themselves: Bruce Willis portrays Korben Dallas, a tough hero who relies on brute force and shooting first, remaining consistently tough and action-oriented even under pressure. Mila Jovovich plays Leeloo, the Magical Girlfriend MacGuffin (in what marked a significant role for her), along with some strategically placed fabric—the fabric itself hasn't yet achieved widespread recognition. Ian Holm appears as the Old Mentor, and Gary Oldman rounds out the cast as Zord, the antagonist (clearly overacting). The film ultimately reaches the level of a standard Sci-Fi Channel original movie and doesn’t surpass that quality. The plot is illogical, the performances are committed but often comical, and the dialogue is so rigid you might think the script pages were stiffened with starch. What specifically goes wrong? Primarily in two areas: first, director Besson continues the tradition of French filmmakers doing unusual things purely for the sake of being different. The film is filled with odd touches that have come to be expected from that region. Most of these elements don’t quite work, but some credit should be given for keeping things interesting. The second, more serious problem—one that seems to frequently affect French directors working in this genre—is the tendency to treat the material largely as a farce. Successful American sci-fi/action films are often defined by their villains. This film, like many others directed by French filmmakers, fails to establish or maintain any sense of power for the antagonists over the protagonists. The villains come across as clueless, foolish, out of their depth, or simply incompetent. That pattern is repeated here. What would Star Wars be without Darth Vader? Die Hard without Hans Gruber? Aliens without…well, aliens? Without a strong (or even memorable) central villain—we have two: Gary Oldman in an over-the-top performance so exaggerated I doubt people of Muslim faith could have been involved in its production, and another being a giant planet-size ball of…Pure!Evil! No joke.—the film loses the opportunity to gain any real weight or depth. There’s no feeling of danger or risk; it's obvious that the hero will prevail, and [spoiler!] the situation is ultimately resolved by what amounts to a Care Bear stare. Does all this make the movie bad? Yes, in some respects. But does it mean I didn’t enjoy it? No, and that’s an important distinction. It's an interesting oddity. If you can embrace its peculiar nature after about thirty minutes, you’ll find a perfectly watchable B (or C)-movie. It’s frustrating to think how much effort went into creating something this…unremarkable, but it is still entertaining in its own way.

Source on TMDB