Babylon

This film felt like it was written and directed by a high school drama class kid with ADHD. It was exhausting to watch, and it was all over the place with too much filler, too many unnecessary sub-plots, convoluted scenes and dialogue, with horrible editing and scene start and cuts. In the hands of better more experienced filmmaker, this could've very easily been so much better and more enjoyable. Writer and director Damien Chazelle gave us a hack-job screenplay with overzealous and pointlessly outlandish scenes, that are all style with very little substance. The all star stellar cast were all amazing, especially Margot Robbie - who was the only reason I didn't stop watching 40+ mins into this utter disastrous nonsense. The critics got this one right. It's a very generous 6/10 from me, all going to the performances and decent cinematography.

So I just finished watching Babylon.

I really liked it but I hated it. I was bored but I was entertained. It was an emotional rollercoaster and it was plain like the Great Salt Lake. It was clear but it was confusing. It was happy and it was sad.

OMG what a mess!! Not necessarily and not always a bad mess, just a mess - there's a lot going on in this movie, and throughout this complicated web of moving pictures and sounds comes through a story, I think, but I'm not sure.

The whole movie rests on a feeble script, and that's not good, but there's some decent acting, half-decent cinematography (kudos to the crew for managing to navigate through in tight closed quarters with hundreds of naked and clantily clothed people around) and some absolutely fantastic music! In fact, I rated this movie 4 stars, but added 2 for the score - it's mesmerizing! Just do me a favour and be patient through the entire credits, at the very end you'll hear Justin Hurowitz's New York!

Big budget, big actors, huuuge production, but really not much to write home about. Did I waste 3 hours of my life? Not really, yes for sure. Confusing.

It's 1926 Hollywood. The silent movie era is having a party of epic debauchery. Manny Torres (Diego Calva) is the 'Mexican' fixer servant doing all the dirty jobs. Jack Conrad (Brad Pitt) is the big movie star. Nellie LaRoy (Margot Robbie) is the flamboyant nobody who fakes it until she makes it. She makes it and then the silent era ends. Everybody works to master the new sound era.

This is not an appealing start. I don't know what's happening with every Oscar bait movie which insists on an overly broad comedic scene with bodily functions. The elephant is completely overboard. I wouldn't open with that scene. It's an indication of what's to come. This movie is desperately trying too hard.

I guess we're supposed to root for Margot Robbie, but I don't. I find her abrasive and not always appealing. She does find her tragic heartbreaks and that helps her character. This would work better if it concentrated more on Brad Pitt's character. He has some of best heart-felt scenes during his climax. Manny Torres is probably the other main character with a big character arc. I like the character, but the performance is too stoic. I need a different performance from him.

Besides Brad Pitt's character arc, I love the general premise of redoing "Singin' in the Rain". It's a great premise that needs a little foreshadowing and less outrageousness. It could be a simple modern day revival with admiring fans watching "Singin' in the Rain" to open this movie. Damien Chazelle is just trying too hard. It hits a few false notes and the whole enterprise stumbles. It always gets back up with some very compelling scenes. For example, the first sound shot is fun. I don't like how it ends. Damien keeps pushing the comedy one step too far. I do appreciate the overall premise and the ambition of the work.

Whether it be orgies, showcasing various bodily fluids, plot threads, or the runtime of the film, Damien Chazelle is fully unrestrained in his latest film. La La Land and Whiplash are some of my favorite films and I'm a big fan of Chazelle's directorial style. He shows flashes of that brilliance often throughout Babylon, but does indulge in his most extreme tendencies as well in this modern Hollywood epic.

There is a lot I liked here. The opening sequence is a sight to behold and had me mesmerized with its vibrant energy. The film chugs along at a good pace for the next two hours to the point I really didn't feel the runtime for most of it. It's the last hour or so where Chazelle loses the story a bit. There were several instances where I thought the film was over, but another scene would pop up next. The runtime really feels unnecessary and there's honestly whole plot lines that could be cut out that wouldn't affect the film.

Justin Hurwitz has composed another terrific score (with some nice hints of La La Land) and the photography, costumes, and production design are all stellar. Outside of some shoddy editing, especially a bizarre movie montage at the end that really did not gel, the technical aspects of the film are quite an achievement.

Chazelle really needed someone to tell him no with this film. Some better editing combined with some self-restraint and this would be much closer to the epic masterpiece status he's clearly aiming for. As it stands, it's a pretty entertaining tale of excess and fame in early years of Hollywood.

...and I wish I could rate them separately. The first act of the film is a fast paced tale of innocence cast into a world of debauchery. It's a beautifully shot, fantastic tale showing the dramatized excesses of show business and the people who would do anything to gain entry into that world. 9/10

The second act was a somewhat more tame and methodical tale of the inner-workings of 1920's film production, with the standout scene being the "hello college" scene. Out of place however, was the whole tangent around the party leading up to the snake. While decidedly funny, I didn't like the pacing very much. 6/10

The final act was a tricky one, and probably could have been 30 minutes shorter. Despite absolutely loving Toby's character, the little side-quest they go on pushed to already exaggerated "Babylonian" theme to to a point of absurdity. It's obvious that some sort of narrative bridge was needed to set up the final scene, but I felt it was overdone. Pitt's character arc wasn't bad, but it lost a lot of steam and I honestly wouldn't have noticed if his character had only been mentioned in the pre-credits sequence. 4/10

If there is one strong point throughout the entire film, it's the use of the dueling saxophone score and quick cuts to drive home the manic energy present throughout the film. Without that score many of the slapstick-heavy scenes would have felt tiresome in an already very lengthy movie. I have a hard time recommending this film to any but the most serious of film nuts, but it's impossible to deny that the bones of a great story are here, they just needed to leave some of the fat on the cutting room floor.