Babel (US - DVD R1)
Gabe sees more integrity in the tower of Jenga than in this unstable structure...
Feature
Richard and Susan (Brad Pitt and Cate Blanchett), an emotionally estranged couple from San Diego, California, are vacationing in Morocco. When two young goat herders take a reckless pot shot at their tour bus, Susan is hit. Meanwhile, Amelia (Adriana Barraza), Richard and Susan's maid/nanny, gets a distressed call telling her to stay with the children until Susan has recovered. Amelia must attend her son's wedding in Mexico, and when she can't find a babysitter brings the toe-heads along. Back in Tokyo, Cheiko (Rinko Kikuchi), a deaf-mute struggles to find love and a decent father/daughter relationship in the wake of her mother's suicide.

I never got around to seeing Paul Haggis' Crash, but based on its premise (interlocking stories centred around a car crash) I always assumed it was an American, anti-racist take on Alejandro González Iñárritu's début motion picture, Amores Perros. It seems only fair that Iñárritu's latest picture should retake Crash's style. Unfortunately for Iñárritu critics still reeling from what I am told was a wholly undeserved Best Picture win at last year's Oscars® on Crash's part were very quick to unleash venom upon Babel (or at least half of them according to the Rotten Tomatoes quotes I read).
I still remember when we called these interwoven, multi-plotted stories 'Altman-esqe' after Robert Altman's love for the style (though, of course the style existed long before Altman came around). Then came Pulp Fiction, and everything that involved more than two story arcs was called Tarantino-esque, even though the superior Jackie Brown encapsulated the style more precisely. Later we compared these movies to P.T. Anderson's Magnolia (and by 'we' I mean the few people that didn't think the film was the most pretentious thing since Kubrick), and with good cause, as it took Altman's style, mixed it with Scorsese's, and ended up being one of the finest films of the last decade. Now it's all about Crash, mostly because Nashville, Pulp Fiction, and Magnolia never won any Best Picture Oscars®, deserved or not.
Babel is the kind of movie a viewer will either run with or away from. I wanted to trip it and finish the race alone. The tales of pretension and convolution told by many a film critic upon the film's theatrical release are painfully true. Babel is a very well acted bad movie that wants to tell you how to feel. I tried to go with it, even as the trite plot developments wound tighter and tighter. I wanted to like the film as a work of art, and when that failed, a work of emotionally rich entertainment. I even tried to enjoy it as Hollywood tearjerker, but to no avail.

The film's basis, the basis the trailers championed, the basis that should make an interesting and thought provoking motion picture, is the Biblical story of the Tower of Babel. Pain is universal, even if language is not. It's a warm fuzzy feeling. Rather than truly exploiting this premise, Iñárritu and his scriptwriter slather together some politically and emotionally centred, but ultimately safe stories about mistakes made and do their best to occasionally remind us about the dangers of miscommunication.
With the exception of the tale of Chieko, the deaf-mute Japanese girl in need of a beginners class on Freud (more on that in a few), Babel basically comes down to a series of incredibly stupid decisions on the parts of its ensemble cast (and hand holding, always with the hand holding). These stupid decisions (which I won't get into too much for spoiler sake) make it increasingly difficult to identify with anyone in the film. I understand that these mistakes are made outside of any malicious intent, and I'm guessing they somehow hark back to miscommunication, but it doesn't make them any less stupid. You can say ‘Oops’ in any language you want, it doesn't make criminal offences okay. Like I said, you'll either run with it or walk away.
The Altman-esque interlocking seems like an afterthought, and I see little point in telling the four stories at once. Cheiko's story is so detached from the other three that the pitiful attempts at tying it in are insulting. Ironically enough, despite belonging somewhere else entirely, it is Cheiko's story that most encapsulates the film's supposed point about miscommunication. The other three stories (the ones where people make stupid choices) make up an arthouse film that wishes it was a political thriller, and then ends without any real closure. Magnolia may've been contrived and melodramatic, but at least it had an ending. Had all four stories been unrelated beyond the idea of painful language and communication barriers it may have worked, but stapling one story onto the narrative quilt is weak writing, that and the fact that none of the stories are particularly interesting to begin with.

The acting is solid enough, but is more accurately referred to as reacting. Brad Pitt gets to grieve, worry, and be scared. Cate Blanchett gets to be shot and cry in pain. Only Rinko Kikuchi as Cheiko did anything for me emotionally (though her character is about as thickly written as any other dissatisfied youth on the Disney Channel), everyone else was about as engaging as the people you see on the side of the road after a car accident. Yeah, I feel bad for them, but I'm not going to cry for someone I don't know and have never met.
The biggest crime though, for me at least, as a shallow individual, is the film's visual aesthetic. 2006 was a banner year for Mexican filmmakers, specifically the three best friends Guillermo del Toro, Alfonso Cuarón, and Babel's Alejandro González Iñárritu. Del Toro made Pan's Labyrinth, a visually rich and endlessly creative adult fantasy. Cuarón made the best film of the year (in my opinion, of course) in Children of Men, a gritty sci-fi thriller with a not-so-hidden political subtext. In comparison to Del Toro's Baroque art direction, and Cuarón's unbelievable one-takes, Iñárritu's film is flat, quiet, and haphazardly edited. Not to mention the fact that it only works as a melodramatic morality play, whereas Children of Men and Pan's Labyrinth work hard above and below the surface. Babel is merely competently directed. The fairness of this comparison comes down to the fact that other, often better writers than myself have made it in a positive light already.

Video
Perhaps Paramount is saving all the visual razzle-dazzle for the Blu-ray and HD-DVD releases, but for a major release of a recent film this DVD is lacking. Each country was filmed using different stock (and apparently different cameras), and it shows, but the overall presentation is still pretty unified. Details are usually sharp when the stage is well lit, but falter in darkness. The film is very grainy as well, which is mostly ignorable, but on occasion becomes a real nuisance.
The film is made in a Cinema Verite style, and is most likely meant to look a little rough around the edges. The Moroccan segments are very washed out, their colours muted, but again grain and noise plagues them. The Mexican scenes are more colourful, but the Japanese sequences fair the best. Black levels are often tinted slightly bluish as well. This is a good transfer, but really should be a great one, and I do wonder about the high definition releases.

Audio
Babel is an audibly sparse motion picture. Sound design is sometimes brilliant, but often missing entirely. On the whole I was unimpressed with the Dolby Digital 5.1 track, but taken out of context, the Japanese scenes are incredible. Because Cheiko is deaf we are occasionally privy to her world. Cutting from noise to silence makes for a neat audio presentation. The original music (not the J-Pop and traditional Mexican music) is mostly single instrument based. It's pretty obvious that composer/song writer Gustavo Santaolalla has been watching Deadwood recently.
Extras
Babel is dry as the Sonoran and Moroccan deserts in the extras department, just a theatrical trailer (a really good trailer, by the way), and a few other trailers for upcoming releases. I smell a post Oscars® double-dip.

Overall
If there's anything to learn from Babel, it's that Iñárritu is most comfortable in his native country of Mexico. The scenes taking place in there are the most alive in the film. If you want to see him make good on the woven storyline concept rent or buy Amores Perros instead. From what I see in the mini-movie that is the Japanese section of this film it's time for him to move on, like his friend Alfonso Cuarón, who has made good in many varying genres and styles.
This is a safe film all around (with the exception of a go-nowhere sequence of a Moroccan child masturbating to thoughts of his naked sister). A safe choice for its director, a safe choice for most of its stars, a safe choice for audiences craving something beyond the Hollywood norm, and a safe choice for Best Picture this Oscar® season (though I suppose all five choices this year are pretty safe). I wanted something dangerous.
Review by Gabriel Powers
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I never said that Casino Royale was Oscar Worthy, for the record. There are very, very few misunderstandings behind the stupid choices. How would these other options lead them down the same path?
Spoiler How do these children "misunderstand" that shooting at a passing bus is a bad idea? There other option is not shooting a bus, how does that put them down the same road? How do Pitt and Blanchete "misunderstand" that visiting a thrid-world country is probably not the best way to patch up such a shallow relationship? What's the other option? Going to France maybe? Staying at home? How does Emilia "misunderstand" that crossing the border as an illegal immagrant with two children not belonging to her in a car driven by a drunk, then leaving those children in the desert to die is a bad idea? Her other option would be to not go to her son's wedding, which would be a bummer, but not put children's lives in danger.
Why is Pitt not leaving in the damn bus? Are we going to explore the psychological implications of a young man masturbating to thoughts of his stripping sister, or are we just dropping a couple shocking moments? Are we suppose to beleive that this man who just threatened to forcefully remove a child's testicles is honestly shocked that the same child killed a tourist? Why is no one willing to watch the children of two Americans on every news station in the world? How did Emilia even get out of the driveway, there should've been legions of photographers and news people?
Again, only the Japanese story succesfully pulls off the film's concept. I was entirely unmoved by everyother story and all of their artifically enduced emotions. I just about threw up when Iñárritu said he set out to make a film about what makes us different but instead made a film about what makes us the same at the Oscars. Talk about self important flat filmmaking. The film is very loosely tied, to the point that one of the storys belongs in a different film all together. The more I think about this film, the more I think a 4 out of 10 was entirely too generous. For a movie championed as one of the best of the year I find myself forced to suspending my disbelief far too much.
Spoiler How do these children "misunderstand" that shooting at a passing bus is a bad idea? There other option is not shooting a bus, how does that put them down the same road? How do Pitt and Blanchete "misunderstand" that visiting a thrid-world country is probably not the best way to patch up such a shallow relationship? What's the other option? Going to France maybe? Staying at home? How does Emilia "misunderstand" that crossing the border as an illegal immagrant with two children not belonging to her in a car driven by a drunk, then leaving those children in the desert to die is a bad idea? Her other option would be to not go to her son's wedding, which would be a bummer, but not put children's lives in danger.
Why is Pitt not leaving in the damn bus? Are we going to explore the psychological implications of a young man masturbating to thoughts of his stripping sister, or are we just dropping a couple shocking moments? Are we suppose to beleive that this man who just threatened to forcefully remove a child's testicles is honestly shocked that the same child killed a tourist? Why is no one willing to watch the children of two Americans on every news station in the world? How did Emilia even get out of the driveway, there should've been legions of photographers and news people?
Again, only the Japanese story succesfully pulls off the film's concept. I was entirely unmoved by everyother story and all of their artifically enduced emotions. I just about threw up when Iñárritu said he set out to make a film about what makes us different but instead made a film about what makes us the same at the Oscars. Talk about self important flat filmmaking. The film is very loosely tied, to the point that one of the storys belongs in a different film all together. The more I think about this film, the more I think a 4 out of 10 was entirely too generous. For a movie championed as one of the best of the year I find myself forced to suspending my disbelief far too much.
I think if you like at all the "stupid" choices in Babel you'd see that the other option they had would lead them down the same place that they end up in the film anyways. Most of the choices come from misunderstandings and although the characters are responsible it does not always sympathize with them (ie. Emilia).
Babel was one of the most moving films I saw last year and the film is tied so intricately, not always perfectly, but every story compliments and contrasts each other.
Casino Royale was an enjoyable film, certainly not oscar worthy at all. One of the best Bond films but it was just another popcorn affair. That whole "getting back to my gritty roots" thing is played out.
Babel was one of the most moving films I saw last year and the film is tied so intricately, not always perfectly, but every story compliments and contrasts each other.
Casino Royale was an enjoyable film, certainly not oscar worthy at all. One of the best Bond films but it was just another popcorn affair. That whole "getting back to my gritty roots" thing is played out.
I thought American Beauty was one of the better films of 1999, not the best, but that was a really good year.
anyone actually remember when movies deserved their Oscar nods?
Gabe Powers wrote: No, if they were going to something bold they'd picked something like The Fountain or Pan's Labyrinth. If they were going to do something right they'd have picked Children of Men. Though I actually think Casino Royale was a better film than any of the nominees (even The Departed by a very slim margin).
Like I said though, I haven't seen Crash, so I can't sayif it's bad or good.
Comments like that are exactly why it would have been bold to give Casino Royale a nomination for Best Picture. I'm not saying it should necessarily have won, but a nomination would have made the contest a little more interesting and given people something to root for. Especially as you say, it's better than any of the films nominated. I'll have to take your word for that though, as I haven't bothered to see any of the Best Picture nominees yet, or the other films you mentioned in the quote above.
Tony DeFrancisco wrote: RentFreak610 wrote: This movie is wonderful. The reviewer is an idiot.Sorry that not everyone has the same opinion as you. I guess we dont deserve to be on the world as much as you do.
Great review here Gabe! While I didn't agree with you alot of the times, I thought the movie was really good, but I did find problems (one being why didn't Brad take Cate to a hospital? Instead he let her almost bleed to death for over 24hrs when he had a perfectly good bus nearby and a hospital that was only 1 1/2hr away.) Rinko's role made it for me though! Her story herself deserves to be a two hour movie.
That's what I sometimes feel about films like this, that some stories are far more worthy and could easily stand on their own rather than supporting others.
Like I said though, I haven't seen Crash, so I can't sayif it's bad or good.
Comments like that are exactly why it would have been bold to give Casino Royale a nomination for Best Picture. I'm not saying it should necessarily have won, but a nomination would have made the contest a little more interesting and given people something to root for. Especially as you say, it's better than any of the films nominated. I'll have to take your word for that though, as I haven't bothered to see any of the Best Picture nominees yet, or the other films you mentioned in the quote above.
Tony DeFrancisco wrote: RentFreak610 wrote: This movie is wonderful. The reviewer is an idiot.Sorry that not everyone has the same opinion as you. I guess we dont deserve to be on the world as much as you do.
Great review here Gabe! While I didn't agree with you alot of the times, I thought the movie was really good, but I did find problems (one being why didn't Brad take Cate to a hospital? Instead he let her almost bleed to death for over 24hrs when he had a perfectly good bus nearby and a hospital that was only 1 1/2hr away.) Rinko's role made it for me though! Her story herself deserves to be a two hour movie.
That's what I sometimes feel about films like this, that some stories are far more worthy and could easily stand on their own rather than supporting others.
Although i did really like the film and i didn't loose any interest during it's long duration, i still found myself unable to connect with any of the characters. What the film lacked for me was being able to give me any real emotional response. I also enjoyed crash a lot but looking back on it although it worked i do think it was also a very predictable hollywood oscar choice probably a political one. Now 21 Grams on the other hand is just magnificent, it's the one i think sean penn should have got the oscar for. The acting from all three of the main stars is just superb! The score is excellent and so is the editing. Most of all it is one of those movies that effected me so much emotionally i was physically drained after watching it.
Still have not seen Amores Perros but i certanly intend too.
Still have not seen Amores Perros but i certanly intend too.
As they say master RentFreak610, it only takes one idiot to ruin the party....
Good review Gabe -
The acting is solid enough, but is more accurately referred to as reacting.- totally agree with that one, a great way to describe it.
A great discussion thread as well guys - good reading!
Glad to have used my 3800th post on this one!
Good review Gabe -
The acting is solid enough, but is more accurately referred to as reacting.- totally agree with that one, a great way to describe it.
A great discussion thread as well guys - good reading!
Glad to have used my 3800th post on this one!
RentFreak610 wrote: This movie is wonderful. The reviewer is an idiot.Sorry that not everyone has the same opinion as you. I guess we dont deserve to be on the world as much as you do.
Great review here Gabe! While I didn't agree with you alot of the times, I thought the movie was really good, but I did find problems (one being why didn't Brad take Cate to a hospital? Instead he let her almost bleed to death for over 24hrs when he had a perfectly good bus nearby and a hospital that was only 1 1/2hr away.) Rinko's role made it for me though! Her story herself deserves to be a two hour movie.
Great review here Gabe! While I didn't agree with you alot of the times, I thought the movie was really good, but I did find problems (one being why didn't Brad take Cate to a hospital? Instead he let her almost bleed to death for over 24hrs when he had a perfectly good bus nearby and a hospital that was only 1 1/2hr away.) Rinko's role made it for me though! Her story herself deserves to be a two hour movie.
I'm shocked so many people would've taken the Japanese story out just because the link between it and the rest is weak.
It's easily the best of the stories and makes (for better or worse) the film more international which is the whole point. That to me makes the Japanese story's flaw worth ignoring.
As for The Departed briefly, it's enjoyable but far from Marty's best and lets not forget it's a blatant remake. That's not a bad thing per se but it does lose a far few marks for being pretty much completely unoriginal.
In some ways so does Babel too.
It's easily the best of the stories and makes (for better or worse) the film more international which is the whole point. That to me makes the Japanese story's flaw worth ignoring.
As for The Departed briefly, it's enjoyable but far from Marty's best and lets not forget it's a blatant remake. That's not a bad thing per se but it does lose a far few marks for being pretty much completely unoriginal.
In some ways so does Babel too.
I'm confused by your Batman comment. Care to elaborate?
The movie is not bad, it's just not as good as the Departed or Pan's Labyrinth.
Casino Royale wasn't the best movie of the year, the Departed was, but CR was a highly entertaining movie (let's not start with those reboot lovers that have Batman Begins as an excellent movie). They could've also nominated Pan's Labyrinth and Children of Men, of which, Pan's the best, way better than Babel, it has more feelings and it's more visually appealing.
Casino Royale wasn't the best movie of the year, the Departed was, but CR was a highly entertaining movie (let's not start with those reboot lovers that have Batman Begins as an excellent movie). They could've also nominated Pan's Labyrinth and Children of Men, of which, Pan's the best, way better than Babel, it has more feelings and it's more visually appealing.
Hey Gabe, while I value your review and the points you are making I definitely took something completely different away from the film. If you haven't seen Haggis' Crash then I highly reccomend doing so. It's a little more focused than Babel is, but Babel by far is one of the best films of the year even if it won't win Best Picture on Sunday. Here is my theatrical release review.
Babel Theatrical Review by Kaya Savas
Babel Theatrical Review by Kaya Savas
Don't let it man, if you liked it you liked it.
I liked it, but your review has me thinking about my review again.
finally saw the film, loved the editing and score. if it best pic worthy maybe?? bt best pic this year i liked the departed more as well as little miss sunshine. half nelson was even really good. the movie had some questions left unanswered i wanted to know where they found the kids, what happened to them. what happened to the goat herder and son after being caught. and the end with the deaf mute girl was she going to jump off the balcony?? acting was good, especially the two that were nominated for best supporting actress.
I feel like an idiot. I saw this last week at the theater. I had no idea the DVD release was so near.
I agree with nearly everything said against the film, but I did think it was one of the better movies of last year. Maybe it was because I went in expecting much less after all the comparisons with Crash.
I agree with nearly everything said against the film, but I did think it was one of the better movies of last year. Maybe it was because I went in expecting much less after all the comparisons with Crash.
Oh, I know he's from Brazil, I just think he's got potential. I can see how it'd sound like I was making a list of Mexican filmmakers. I'll add Darren Aaronofsky to the list to widen the cultural range a little more.
One thing Amores Perros had that Babel doesn't is good music. I remember "Si Senior" was pretty popular with the Hispanic population of Tucson just before the film came out. Nashville, Pulp Fiction, and Magnolia are all multistory films that move because of their music.
One thing Amores Perros had that Babel doesn't is good music. I remember "Si Senior" was pretty popular with the Hispanic population of Tucson just before the film came out. Nashville, Pulp Fiction, and Magnolia are all multistory films that move because of their music.
yeah, but he's from Brazil. hehe. Cidade De Deus was a film I used a lot to make comparisions to Amores Perros. That film had a lot of spirit, and it really placed the audience in intimate touch with every single character. Amazing film
Thanks a lot. Del Toro and Cuaron may very well be the two most exciting filmmakers working in the world right now. I'd like to add Fernando Meirelles to that list, but Constant Gardener was only a good movie, not a great one.
Gabe, I love this site and have been a regular reader. I live in Mexico City. This is my first comment here and I just wanted to let you know that I'm glad you gave this movie the review it deserves. it is mediocre at best, and Iñárritu is an advertisement director with a gigantic ego. it clearly shows in this film, as it's core is horribly weak. There's no real connection to those people from the heart of the viewer. I think Amores Perros was ok, but this is really weak. Del Toro and Cuarón are the cream of the crop, but Iñárritu is just the unjustified diva. Kudos to you.
I am really glad to see that I am not the only one who found this movie to be pretentious and filled with characters who make stupid choices. Pretty much all of the points you make, Gabe I agree with. The only part of the picture I did enjoy where the Tokyo segments. I found those to be genuinely well-crafted. For the most part. But still, it's a C- movie in my eyes and not worthy of all the Oscar noms and whatnot.
RentFreak610 wrote: This movie is wonderful. The reviewer is an idiot.
Any more comments like that and I'll ban you. We work long and hard to bring you these reviews and the best you can do is call someone an idiot for having an opinion contrary to your own. Genius.
Any more comments like that and I'll ban you. We work long and hard to bring you these reviews and the best you can do is call someone an idiot for having an opinion contrary to your own. Genius.
Kyle Mertes wrote: One question about Babel, though. It mentions on the back that this is part of a trilogy that includes Amores Perros and 21 Grams. Are all three of these films connected somehow, or do they just fall along the lines of being similar in story and is considered a "trilogy?"
The only unifying thread I can find is that people cause eachother a lot of pain. It's getting a little old, maybe he should do a Harry Potter movie like Cauron, lighten himself up a bit.
The only unifying thread I can find is that people cause eachother a lot of pain. It's getting a little old, maybe he should do a Harry Potter movie like Cauron, lighten himself up a bit.
Saw this film recently and I was heavily disappointed, it was pretty awful. I've seen 21 grams and it seems like the director wanted to make a more bloated film, and lost a lot of his class along the way. Could have really been cut down a lot.
It was much better than Crash (although what isn't?) as there were actually 3D characters in the film, not just some paper-thin 2D cutouts that seemed to blight Crash. Also it's not a film that is so blatant in what it's trying to do. As said in the review it's unfortunate that films with this style have to be compared to Crash, when the director had even been making these films before that film came along.
I would imagine that this is likely to win the Oscar for Best Picture as the Oscars rarely get it right (plus there is too much politics deciding who actually wins, instead of choosing the best).
It was much better than Crash (although what isn't?) as there were actually 3D characters in the film, not just some paper-thin 2D cutouts that seemed to blight Crash. Also it's not a film that is so blatant in what it's trying to do. As said in the review it's unfortunate that films with this style have to be compared to Crash, when the director had even been making these films before that film came along.
I would imagine that this is likely to win the Oscar for Best Picture as the Oscars rarely get it right (plus there is too much politics deciding who actually wins, instead of choosing the best).
I bought this blind Tuesday when I bought The Prestige. Haven't had the chance to watch Babel yet, but I've read and have been told it's a good film.
And calling a reviewer an idiot over his opinions is just downright ridiculous, RentFreak. Give Mr. Powers some credit. At least he isn't Pete Hammond of Maxim and giving sap-happy, gushing glowing praise for everything that enters his DVD player.
I'll see if I get the chance to watch this this weekend, and I will report back. I loved Crash, I'm so glad it won the Oscar last year.
One question about Babel, though. It mentions on the back that this is part of a trilogy that includes Amores Perros and 21 Grams. Are all three of these films connected somehow, or do they just fall along the lines of being similar in story and is considered a "trilogy?"
And calling a reviewer an idiot over his opinions is just downright ridiculous, RentFreak. Give Mr. Powers some credit. At least he isn't Pete Hammond of Maxim and giving sap-happy, gushing glowing praise for everything that enters his DVD player.
I'll see if I get the chance to watch this this weekend, and I will report back. I loved Crash, I'm so glad it won the Oscar last year.
One question about Babel, though. It mentions on the back that this is part of a trilogy that includes Amores Perros and 21 Grams. Are all three of these films connected somehow, or do they just fall along the lines of being similar in story and is considered a "trilogy?"
RentFreak610 wrote: This movie is wonderful. The reviewer is an idiot.
There's the witty repartee I was waiting for. Thank God people are so predictable.
Actually, I hated the film because it was so simple and shallow. I disliked the characters for their choices. I think the sentiment is phoney and pointed rather than genuine and organic.
There's the witty repartee I was waiting for. Thank God people are so predictable.
Actually, I hated the film because it was so simple and shallow. I disliked the characters for their choices. I think the sentiment is phoney and pointed rather than genuine and organic.
Gabe,
I, as well as others it seems, feel the ened to disagree with your rating of the film itself.
I saw it in the theater and really enjoyed the film. I've seen the directors other two films as well (loved AP but hated 21 Grams).
You seem to hate it because everything focuses on stupid decisions by people but don't we all make bad decisions? It's about how one simple act, even out of kindness, can cause so many others pain and suffering and you may never know.
I agree with you that the Japanese segment was the strongest of them all and the club scene is a perfect example of what the film was trying to get across (it had two things, the butterfly flapping his wings and the whole communication thing).
The couple going to Marocco may have been a dumb idea and to rekindle something that is lost by going there is silly but Pitt's character doesn't seem to be the smartest person around. If he was he would have realised his wife's germ issues.
The babysitter makes a mistake. She had a number of options once she entered Mexico but really, would her other options come out much different?
Either way it was a well written review but maybe you should give it a second chance.
PS: Glad someone else agrees with me on Children of Men, Foundtain, Pan, ect.
I, as well as others it seems, feel the ened to disagree with your rating of the film itself.
I saw it in the theater and really enjoyed the film. I've seen the directors other two films as well (loved AP but hated 21 Grams).
You seem to hate it because everything focuses on stupid decisions by people but don't we all make bad decisions? It's about how one simple act, even out of kindness, can cause so many others pain and suffering and you may never know.
I agree with you that the Japanese segment was the strongest of them all and the club scene is a perfect example of what the film was trying to get across (it had two things, the butterfly flapping his wings and the whole communication thing).
The couple going to Marocco may have been a dumb idea and to rekindle something that is lost by going there is silly but Pitt's character doesn't seem to be the smartest person around. If he was he would have realised his wife's germ issues.
The babysitter makes a mistake. She had a number of options once she entered Mexico but really, would her other options come out much different?
Either way it was a well written review but maybe you should give it a second chance.
PS: Glad someone else agrees with me on Children of Men, Foundtain, Pan, ect.
This movie is wonderful. The reviewer is an idiot.
No, if they were going to something bold they'd picked something like The Fountain or Pan's Labyrinth. If they were going to do something right they'd have picked Children of Men. Though I actually think Casino Royale was a better film than any of the nominees (even The Departed by a very slim margin).
Like I said though, I haven't seen Crash, so I can't sayif it's bad or good.
Like I said though, I haven't seen Crash, so I can't sayif it's bad or good.
Any chance we could leave Crash alone? There are plenty of arguments for and against it winning the Best Picture Oscar last year, and they've been done to death now.
I haven't seen any of this year's Best Picture nominees, but I hear it's likely going to be The Departed and Babel duking it out for the award. Can't say I'm bothered either way to be honest. If the Academy wanted to do something bold, they'd have put Casino Royale up for a nomination and given the world a crowd-pleaser to get behind, as well as a film that's universally been praised as being pretty damn good. Having said that, I'll probably give the Best Picture winner a rent as it's always interesting to see what professionals feel is the best of the year.
I haven't seen any of this year's Best Picture nominees, but I hear it's likely going to be The Departed and Babel duking it out for the award. Can't say I'm bothered either way to be honest. If the Academy wanted to do something bold, they'd have put Casino Royale up for a nomination and given the world a crowd-pleaser to get behind, as well as a film that's universally been praised as being pretty damn good. Having said that, I'll probably give the Best Picture winner a rent as it's always interesting to see what professionals feel is the best of the year.
For me the Japanese segment was easily the most powerful and easily made it worth while watching. Yes agreed the link between it and the other stories is complete nonsense but I can easily forgive this when without it the film would certainly have been worse for it.
It's just so powerful and so well acted. Kôji Yakusho can really act. The rest of the story is very good too.
No it's not his best but frankly an okay Alejandro González Iñárritu film is still far, far better than most dross that is thrown at us.
Personally I think both Amores Perros and 21 Grams are masterpieces. Babel also lost some marks as I couldn't help feeling I've now seen the same basic structure 3 times.
It's just so powerful and so well acted. Kôji Yakusho can really act. The rest of the story is very good too.
No it's not his best but frankly an okay Alejandro González Iñárritu film is still far, far better than most dross that is thrown at us.
Personally I think both Amores Perros and 21 Grams are masterpieces. Babel also lost some marks as I couldn't help feeling I've now seen the same basic structure 3 times.
3rd best film I saw last year. Not as good as Amores Perros but better than 21 Grams.
£ukasz D wrote: if u except few angry comments..than let me be the one of those angry readers.....u must be realy jokeing with the note u gave this film.....!!!
Maybe the DVD is bare-bones, but it is not the reason to rate that great film so low.....one of the best of last year !!!!
Did you actually read the review? My film score has nothing to do with the extras, I thought it was a bad film, and explained why for like, 7 paragraphs.
And Steven, make sure you see Amores Perros if you haven't already, it's a great example of how good Iñárritu can be.
Maybe the DVD is bare-bones, but it is not the reason to rate that great film so low.....one of the best of last year !!!!
Did you actually read the review? My film score has nothing to do with the extras, I thought it was a bad film, and explained why for like, 7 paragraphs.
And Steven, make sure you see Amores Perros if you haven't already, it's a great example of how good Iñárritu can be.
I have to say that i really disagree with your review. I found this to be fantastic in every way and cant wait for his next film. I wish the DVD had something to offer, I hope Paramount releases a Special Collector's Edition. Anyway, im pulling for this to take home the best picture prize.
if u except few angry comments..than let me be the one of those angry readers.....u must be realy jokeing with the note u gave this film.....!!!
Maybe the DVD is bare-bones, but it is not the reason to rate that great film so low.....one of the best of last year !!!!
Maybe the DVD is bare-bones, but it is not the reason to rate that great film so low.....one of the best of last year !!!!
Actually, filmguy, I appriciate your comments. I know a lot of people loved this movie, and I expect quite a few angry comments and emails. Thanks for understanding the difference between discussion and arguing.
I think that an 80 minute movie called Babel using only the Japanese story might have been a great film.
I think that an 80 minute movie called Babel using only the Japanese story might have been a great film.
Having seen both Crash and this, I really did like Crash for the tone and message it took. Personally I think it deserved the Oscar, but that's not what the review is about...lol
I saw Babel in theaters and I hated it, every piece of it. I wa comforted by the fact that several people walking out had similar WTF conversations going on around me so it wasn't just me. To me it tried to hard at everything and failed at everything. There were pieces in the movie with no relevance and early enough in the film to really put a damper on my outlook of the rest of it.
I saw Babel in theaters and I hated it, every piece of it. I wa comforted by the fact that several people walking out had similar WTF conversations going on around me so it wasn't just me. To me it tried to hard at everything and failed at everything. There were pieces in the movie with no relevance and early enough in the film to really put a damper on my outlook of the rest of it.
Spoiler Alert
It was idiotic for some of those characters to do what they did, yes. For example, here in California, where there are so many undocumented immigrants, I have met and seen people do things that are just completely off the wall because of language barriers, cultural barriers, etc. So it came to no surprise that the nanny did what she did. It is idiotic, and what happened to her was deserving, heartless as I may sound.
The American couple went to Morroco to break down their failing marriage, i.e. emotional and communication barriers. (What's more difficult to buy in the film is going to Morocco for vacation "to rekindle a relationship.") Chieko's was an obvious one (and I agree, hers came out as the strongest story). Those boys with the rifle is an example of sheer stupidity. The father not explaining to them the consequences? A gun is a gun. It's dangerous. Period. The father just hands it to the younger boy. There's definitely some gap there which I think the film is trying to express and present.
The difficulty of the film is that I don't think we're suppose to or can sympathize, and there I can see your points because then what's the point if we can't emotionally invest in a movie? I feel the same way about Crash. It's like, people doing stupid things because of the situations (racism, communication barriers, etc.) presented to them. Like Crash, it's a parable in which we draw our own conclusions. I thought it was well-directed, shot and acted, and I think the film brings up to light some interesting things about communication, or the lack thereof.
I want you to know that I found your review well-written and thats why I wanted to respond. I've been on this site for so long and only now did I register to respond. I'm not here to argue nor champion the film. (I definitely will be pissed if it wins Best Picture.) I just wanted to give other readers a different viewpoint and point out some cool things about the movie.
The American couple went to Morroco to break down their failing marriage, i.e. emotional and communication barriers. (What's more difficult to buy in the film is going to Morocco for vacation "to rekindle a relationship.") Chieko's was an obvious one (and I agree, hers came out as the strongest story). Those boys with the rifle is an example of sheer stupidity. The father not explaining to them the consequences? A gun is a gun. It's dangerous. Period. The father just hands it to the younger boy. There's definitely some gap there which I think the film is trying to express and present.
The difficulty of the film is that I don't think we're suppose to or can sympathize, and there I can see your points because then what's the point if we can't emotionally invest in a movie? I feel the same way about Crash. It's like, people doing stupid things because of the situations (racism, communication barriers, etc.) presented to them. Like Crash, it's a parable in which we draw our own conclusions. I thought it was well-directed, shot and acted, and I think the film brings up to light some interesting things about communication, or the lack thereof.
I want you to know that I found your review well-written and thats why I wanted to respond. I've been on this site for so long and only now did I register to respond. I'm not here to argue nor champion the film. (I definitely will be pissed if it wins Best Picture.) I just wanted to give other readers a different viewpoint and point out some cool things about the movie.
filmguy78 wrote:
A friend told me that, unlike Crash, whatever political and social commentary there is is secondary to character and story, allowing the audience to draw their own conclusions or else just get sucked into the lives of these characters. I agree with that. Yes, they do make bad choices, but isn't it because of the barriers presented in the film? Characters can't make bad choices?
What barriers?
Spoiler Those idiot children shot a bus because of barriers? This lame American couple went on a trip to Morroco to rekindle their relationship because of barriers? That idiot nanny though that taken those kids into Mexico for a day, even though she was an illegal alien, getting in the car with her drunken nephew, and leaving them in the desert was a good idea because of barriers?
Yeah, characters can make bad choices, but if a filmmaker wants me to empathise with them it probably shouldn't be their sole character traight.
A friend told me that, unlike Crash, whatever political and social commentary there is is secondary to character and story, allowing the audience to draw their own conclusions or else just get sucked into the lives of these characters. I agree with that. Yes, they do make bad choices, but isn't it because of the barriers presented in the film? Characters can't make bad choices?
What barriers?
Spoiler Those idiot children shot a bus because of barriers? This lame American couple went on a trip to Morroco to rekindle their relationship because of barriers? That idiot nanny though that taken those kids into Mexico for a day, even though she was an illegal alien, getting in the car with her drunken nephew, and leaving them in the desert was a good idea because of barriers?
Yeah, characters can make bad choices, but if a filmmaker wants me to empathise with them it probably shouldn't be their sole character traight.
I disagree with the film review, but agree with the review for this barebones DVD. I do smell a double-dip. I actually enjoyed this film the second time around on DVD moreso than when I saw it in theatres. I'm not a huge fan of Crash and I'm not saying Babel is by far the best picture of the year, but I do think the film has more merits than you say it does.
A friend told me that, unlike Crash, whatever political and social commentary there is is secondary to character and story, allowing the audience to draw their own conclusions or else just get sucked into the lives of these characters. I agree with that. Yes, they do make bad choices, but isn't it because of the barriers presented in the film? Characters can't make bad choices?
The still and quiet moments speak loudest and most empathatically; the comfort of shared space, the intimacy in suffering, etc. it is in these moments that Babel shines, realizing the significance, emptiness, and delicate structure of our existence. Babel leaves a weight that is hard to shake off at the end.
A friend told me that, unlike Crash, whatever political and social commentary there is is secondary to character and story, allowing the audience to draw their own conclusions or else just get sucked into the lives of these characters. I agree with that. Yes, they do make bad choices, but isn't it because of the barriers presented in the film? Characters can't make bad choices?
The still and quiet moments speak loudest and most empathatically; the comfort of shared space, the intimacy in suffering, etc. it is in these moments that Babel shines, realizing the significance, emptiness, and delicate structure of our existence. Babel leaves a weight that is hard to shake off at the end.


Under 17 requires accompanying parent or adult guardian
Disc Details
Release Date:
20th February 2007
Discs:
1
Disc Type:
Single side, dual layer
RCE:
No
Video:
NTSC
Aspect:
1.78:1
Anamorphic:
Yes
Colour:
Yes
Audio:
Dolby Digital 5.1 English, Dolby Digital 5.1 French, Dolby Digital 2.0 Surround English
Subtitles:
English, Spanish
Extras:
None
Easter Egg:
No
Feature Details
Director:
Alejandro González Iñárritu
Cast:
Brad Pitt, Cate Blanchett, Gael García Bernal, Kôji Yakusho
Genre:
Drama
Length:
153 minutes
Ratings
Amazon.com
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