Luc Besson’s latest film, June and John, delivers the glossy visuals and stylized flair that marked earlier successes such as The Fifth Element and Leon: The Professional, but critics say it falters under a derivative and cliché-ridden script. While his previous film DogMan hinted at a creative rebound, this new romantic drama is described as a regression into familiar tropes without fresh insight.

The story follows John, a withdrawn bank employee numbing himself with tranquilizers, whose life changes after he becomes obsessed with June, a free-spirited woman he spots on a train. After reconnecting through social media, June dramatically inserts herself into his life, pulling him into a whirlwind of reckless adventures, criminal escapades, and romantic escapism. As they flee authorities and hide out in luxurious vacant homes, June reveals a personal secret meant to add emotional weight to their bond.

Despite committed performances from Matilda Price and Luke Stanton Eddy, the film leans heavily on predictable scenes of self-discovery, from skydiving to spontaneous desert road trips. Critics argue that June’s character lacks depth, functioning more as a symbol of carefree living than a fully realized person, leaving the romance emotionally unconvincing and the film visually striking but narratively hollow.