Starring Channing Tatum and Mila Kunis with Sean Bean, Eddie Redmayne and Douglas Booth in supporting roles, the film is centered on Jupiter Jones (Kunis), an ordinary cleaning woman, and Caine Wise (Tatum), an interplanetary warrior who informs Jones that her destiny extends beyond Earth.

Supporting cast member Douglas Booth has described the film's fictional universe as a cross between The Matrix and Star Wars,[6][7][8] while Kunis identified indulgence[9] and consumerism as its underlying themes.

Other notable past collaborators include Speed Racer composer Michael Giacchino, Cloud Atlas director of photography John Toll along with its editor Alexander Berner and hair and make-up designer Jeremy Woodhead, who worked on both.

During the procedure, the doctors and nurses are revealed to be Keepers sent to kill her, but she is saved by Caine Wise, a former soldier sent by Titus to bring her to him.

There, Kalique explains that Jupiter is genetically identical to the House of Abrasax's long-dead matriarch, and therefore she is the Earth's rightful owner.

Titus then throws Caine into the void of space and attempts to seduce Jupiter, declaring his intention to dismantle the youth serum trade, of which Earth is the next intended source.

Development began two years later, with the production and visual effects teams doing pre-production work based on a first draft of the script, while The Wachowskis were shooting the future segments of Cloud Atlas.

The Wachowskis themselves describe the plot of the film as an effort to reverse the classical science-fiction trope of the hero who is "emotionally withholding and strong and stoic".

Hill has described the design as an original take on the look of space environments, while Glass mentioned it was influenced by cities around Europe rather than science fiction touchstones.

"[31]The opening scenes show the Guggenheim Museum in Bilbao and Dancing House in Prague, both of which were designed by Frank Gehry.

This was the second feature that cinematographer John Toll shot digitally, using Arri Alexas and Codex Recorders, after Iron Man 3,[32] in part due to the visual effects element.

[35][36] An eight-minute-long chase sequence, code-named "Fifty-Two Part" by the film's crew, depicts Jupiter and Caine fleeing from aliens and spaceships in downtown Chicago shortly after they first meet.

Tatum has noted there was minimal use of digital doubles and instead most stunts were done by the principal actors or stuntmen attempting to match the pre-vis sequences.

[15][37][38][39] For the scenes of Tatum's character flying using antigravity boots, Glass has stated that his team invented a way to use stuntmen instead of doing them digitally, despite the limited available time to shoot them.

During post-production, the directors could combine the overlapped filmed footage, essentially creating a camera that could swing around the action independently of the helicopter's actual flying path.

[43] On June 10, 2013, Giacchino tweeted that Ludwig Wicki [de], Robert Ziegler & Tim Simonec were conducting the film's score at Abbey Road Studios in London.

The ballet, which premiered November 2, 2018, features 24 dancers that represent planets, celestial bodies, and forces of physics, and was designed as an "anthropomorphization of the birth of a planetary system.

"[47] The film was originally set to be released on July 25, 2014,[48] but it was later moved up to July 18, 2014,[49] and on June 3, 2014, the film's release was delayed to February 6, 2015, due to poor test screenings that April and to give additional time needed to complete over 2,000 special effects shots, which ended up ballooning the final budget from $130 million to over US$210 million.

Jupiter Ascending had a surprise premiere at the Sundance Film Festival on January 27, 2015, at the Mary G. Steiner Egyptian Theatre in Park City.

[55] Despite a disappointing North American debut, the film opened in the top spot internationally, earning US$32.5 million playing in theatres of 65 markets in other territories.

The film also debuted in Asian markets, bringing in US$6 million in total from Singapore, Hong Kong, Taiwan, Philippines, Indonesia, Malaysia and Thailand.

The site's critical consensus reads, "Pleasing to the eye but narratively befuddled, Jupiter Ascending delivers another visually thrilling misfire from the Wachowskis.

[64] In CinemaScore polls conducted during the opening weekend, cinema audiences gave Jupiter Ascending an average grade of "B−" on an A+ to F scale.

Bonkers, all over the place, incoherent, preposterous, ridiculous dialogue that George Lucas would have thrown in the bin, spectacularly overripe performances.

Kofi Outlaw of Screen Rant called Redmayne's performance "so over-the-top with his effeminate mannerisms and Bane-style whisper voice that Jupiter Ascending devolves into an absurd comedy whenever he's onscreen," and commented that "he may go home with an Oscar AND a Razzie on the same night".

[70]) Manohla Dargis of The New York Times called Redmayne's performance "camping",[71] while Stephanie Merry of The Washington Post lambasted him for "screeching his lines" in a way that "is about as intimidating as a toddler", adding, "Unfortunately, you'll never be able to unhear the way he shrieks 'Gooooo!'

Baker-Whitelaw described the film as "catnip for a certain subset of geeky, self-aware young women", adding that it "is dumb, and weird, and beautiful, and it wants you to be happy".

Club described the film as "an imaginatively goofy, Rococo space opera", and opined: "It might not be as compelling a synthesis of pop philosophy and geek tastes as The Matrix, but it feels personal in the way that big-budget, effects-driven movies rarely do.