Babylon A.D.
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Actor: Gerard Depardieu, Vin DiseselBrand: Fox
DVD: Region Code 1
Audio: English (Unknown); English (Subtitled); French (Subtitled); Spanish (Subtitled); English (Original Language); French (Dubbed)
Format: AC-3, Color, Dolby, Dubbed, DVD, NTSC, Subtitled, Widescreen
Picture Format: 1.85:1
Running Time: 90 minutes
Published: 2009-01-01
DVD Release Date: 2009-01-06
Audience Rating: Unrated
Studio: 20th Century Fox
DVD Reviews of Babylon A.D.
DVD Review: EVEN TO THE MOST PERCEPTIVE THE FUTURE ALWAYS SEEMS A LITTLE STRANGE IF ONLY BECAUSE IT MUST REMAIN COMPLETELY UNKNOWABLE
Summary: 4 Stars
The Sci-Fi adventure epic is that venue in which the improbable and the inexplicable stay, thrashing in their own matrix of danger. Here, DIESEL is up to speed and a little beyond, at last, with this one. That spooky-scary kinetic rush of physical power and rage-aholism that animated XXX, PITCH BLACK and RIDDICK is back again, after a spate of gaffs and dung nuggets, and we can see the man as the MovieStar he is, for what he is, in his element. What is that element? It's that unpredictable area of semi-consciousness, part dream and part myth, where primal forces collide under the direction of men like David Twohy -- who orchestrated RIDDIK -- and Luc Besson, who directed, wrote and produced THE FIFTH ELEMENT. And in many ways BABYLON AD closely resembles that movie, FIFTH ELEMENT. Actually, the character Toorop of BABYLON AD is interchangeable with Korben Dallas of ELEMENT, played by Bruce Willis. In their careers, both actors play archetypes and for the past five or more years, have been and are to a degree rivals, and except that they are not physical twins, their roles have been nearly identical: SIN CITY, yet another rescue mission. And so, this snippet from the blurb for FIFTH ELEMENT fits very well here: This cast of actors stars "In an outrageous sci-fi adventure, an extravagantly styled tale of good against evil set in an unbelievable twenty-third century world."
Both these actors, WILLIS and DIESEL have transcended their national origins, and even their original stereotypes (sarcastic West Side of Manhattan toughies) as well as their ethnic and racial origins, and become Types. What types? Brutes. Or, just Americans as Europeans may well see us; mindless, mercenary Thugs. Remember, if you check the very lengthy walk-out credits, you'll find that this movie is not an American movie, but a pan-European or International one, with credits for artistic and financial production coming from virtually every financial center in the world, an with artistic creation originating in Paris, Prague, Rome, London and only incidentally from New York. In fact, considering Michelle Yeoh's considerable contribution, it wouldn't be strange if the Chinese film business contributed to BABYLON.
But what's BABYLON A.D. like to watch? Luscious, to my way of thinking; irrational, wonderful, unnpredictable action and virtually all the actors give surprising performances.
DIESEL? He looks great. They've finally figured out how to vary his 'look' so that he's at least plausibly attractive in a street-like way. (A MAN APART, a fairly good action flick, puts him in Mexi-Latino LA, and with facial hair he fits in.) Here, they find ways to make him look interesting on camera. They do exquisite creative work with his tatooing; great forearm motifs, good hand stuff; they bring lines and slashes up to his hairline and do suave things with his scalp and rug. So fine! In a scene near the end of the movie he's caught in the shower first, with bleeding wounds and a spectacular all-over Egyptian-style dorsal tatoo and next, with Melanie Thierry in her undies. They don't wrestle, but they don't have to. Total Venus and Mars. Arousing, like something out of DUN.
MELANIE THIERRY is a ravishing girl/woman with blonde hair and the face of an angel or, yes, yes, admit it; the face of the Madonna. Like Milla Jovovich, she has the huge, pale wide eyes and Finnish-like not-quite androgynous body and the sense of unearthliness the role calls for. Through most of the flick her role is passive: She appears to be psychotic, but turns out to be psychic, we find, en route. However, she's always being pushed and pulled everywhere, by nearly everybody, so its hard to tell. But somehow she maintains an unearthly poise that is both upsetting and attractive.
MICHELE YEOH brings to the film those qualities which, if you haven't ever seen her (in CROUCHING TIGER, HIDDEN DRAGON) or anything else, must remain inexplicable. Grace, poise, beauty, strength and athleticism. She is a marvel. Chen-yu.
GERARD DEPARDIEU was a complete surprise. I didn't look at the credits on the box and didn't realize that the character I saw, the Russian thug who set the story in motion, was indeed himself. He is so great, but we seldom if ever see him in English-language movies.
And get ready for CHARLOTTE RAMPLING. What a monster! Almost didn't recognize her, haven't seen her for so long. This beautiful bit will certainly bring her back more often.
The sets? Peculiar. Very, very interesting.
The premise is far beyond improbable; it is astonishing. Toorop, our hero, this out-at-the elbow post Bush-Oil II American mercenary is living somewhere in (Post-apocalyptic) Russia (of all places; no explanation) as a Russian and on very damned little, but gets an offer for work from one of the big Official Mafiosi. He is not in a position to refuse, if only because his acceptance means the possibility that he may be able to escape to the USA and return to his family home. It's a pick-up and delivery gig; some kind of wierd girl. The trip? From Russia, which looks like a scrap yard of barely operational military junk, to possibly Mongolia and an isolated monestary to fetch the girl who will not travel without her own special nun; then by partly-armored vintage 70s Zil, under and over the Silk Road, and then partly by rail to Vladivostak. There, to pick up boat tickets, they wait at the edge of the fozen-over harbor. Did you hear me? It's a trip across frigging Asia, man!
Meanwhile, at the Vladivostak terminal there's a horrific bomb blast -- which thanks to the girl they avoid -- and a confusing series of fights and brawls with swarming, dangerous American kids like Juvie orphans, in and through a kind of rickety scaffolding that is almost but not quite architecture. The incoherence is intense, and when the sub appears in the frozen harbor like a black, iron whale, and the fugitives swarm, that dreadful scene is handled with cruel, Soviet-like efficiency.
After more submarine experiences and near-lethal adventures crossing the Alaskan/Candian wastes, they find themselves in New York City. (Now, pop. 21 million: it's Dekerd's cityscape from BLADERUNNER, seen from above. Kosher Tokyo.) There, in Haarlem, the story takes an abrupt twist, and the insane religious fanatics who paid for the delivery of the girl, prepare to receive her. (It's The murderous Queen of the Night from THE MAGIC FLUTE and her nasty entourage.) After promptly murdering her mate, she brings with her unending psychotic malice coupled with unspeakable violence. There is an explosive convulsion in which nearly everyone dies.
But not everybody. Our anti-hero is resurrected or transformed into a loving, partly-bionic man, or fusion-droid, in up-state New York. And from there... It's short but home sweet home.
BABYLON A.D. is about as pure a HEAVY METAL adventure as you can find these days, and I intend to watch it again this afternoon. (Envy me, you pathetic corporate deeves!)
Description of Babylon A.D.
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