Well acted and handsomely photographed, but still extraordinarily overpraised and overblown, a middlebrow piece of near-nonsense: the kind of self-conscious arthouse cinema that is custom-tailored and machine-tooled for the dinner-party demographic.
Babel (2006)
Tomatometer
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Reviews Counted:12
Fresh:9
Rotten:3
Average Rating:6.3/10
Consensus: In Babel, there are no villains, only victims of fate and circumstance. Director Alejandro Gonzalez Iñarritu weaves four of their woeful stories into this mature and multidimensional film.
Theatrical Release:19-01-2007
Synopsis: BABEL is the crowning achievement in the trilogy from the unstoppable creative pairing of screenwriter Guillermo Arriaga and director Alejandro Gonzalez Innaritu, which also includes AMORES PERROS... BABEL is the crowning achievement in the trilogy from the unstoppable creative pairing of screenwriter Guillermo Arriaga and director Alejandro Gonzalez Innaritu, which also includes AMORES PERROS (2000) and 21 GRAMS (2003). Building upon its predecessors' method of weaving together disparate storylines, BABEL reaches new heights of ambition with a tale that, in the absence of traditional narrative and protagonist, relies on numerous incredible performances to evoke an affecting relevance by framing contemporary issues in very human struggles and mistakes. Richard and Susan (Brad Pitt and Cate Blanchett) are a wealthy couple from San Diego who are vacationing in Morocco in order to heal after the death of their young child; their other two children are at home with their Mexican maid, Amelia (Adriana Barraza). In a complex shift of ownership to which the audience is privy, a rifle finds its way into the hands of a local herdsman's young sons (Said Tarchani and Boubker Ait El Caid), who recklessly take a shot at a tour bus and catch Susan in the shoulder, causing her to nearly lose her life. The distraught Richard calls home to tell Amelia of the situation, who promptly departs for Mexico to attend her child's wedding, with Richard and Susan's children in tow. Disaster thus multiplies, with the situation in Morocco ascribed to terrorists in the media, while Amelia meets with the harsh immigration policies of the Bush administration. Meanwhile, in Tokyo, a widower (Koji Yakusho) tied to the rifle in question attempts to deal with his memories and his raucous, promiscuous, deaf daughter (Rinko Kikuchi). Nearly every performance of the film is devastating, offering an intimate, emotional experience that would approach melodrama if it weren't rendered so realistically. Cinematographer Rodrigo Prieto's color palette masterfully captures the muted tones of the harsh natural landscapes of Morocco and the Mexican border, as well as the fluorescent lights of Tokyo that denote another, though equally barren, end of the spectrum. The misunderstandings born of cultural, language, and class barriers are on par with those that occur between family members, depicting a world that, while connected in the least expected of ways, is also faced with a deep-seated crisis that threatens to alienate humanity from itself. [More]
Starring: Cate Blanchett, Brad Pitt, Gael Garcia Bernal, Mahima Chaudhry
Starring: Cate Blanchett, Brad Pitt, Gael Garcia Bernal, Mahima Chaudhry, Shilpa Shetty, Koji Yakusho, Said Tarchani, Adriana Barraza, Boubker Ait El Caid, Rinko Kikuchi, Peter Wight, Peter Walter, Trevor Martin, Matyelock Gibbs, George Oumansky, Michael Maloney, Abdelkar Bara, Mustapha Rachidi, Elle Fanning, Nathan Gamble, Michael Pena, Jamie Mcbride
Director: Alejandro Gonzalez Inarritu
Director: Alejandro Gonzalez Inarritu
Screenwriter: Guillermo Arriaga Jordan
Producer: Steve Golin, Jon Kilik, Alejandro Gonzalez Inarritu, Corrine Golden Weber
Composer: Gustavo Santaolalla
Studio: Paramount Classics
Reviews for Babel
You can't make the same film three times and not expect people to carp. Go and see it with politically-minded friends and thrash it out afterwards over coffee.
Babel can be unnecessarily convoluted, ultimately though it's the stark simplicity of the dilemmas faced by each character that hits home, wherever that may be.
It may be too slow for some tastes, but Babel remains emotionally bruising but compulsive viewing.
One of the most challenging and saddest movies of the year -- and also one of the most memorable.
For all its apparent scope, the film's in-your-face fatalism ultimately feels forced. The cumulative effect is more grueling than cathartic, even if it may also be good for the soul.
Babel possesses unusual aesthetic force, even if it does not seem to be tethered to any coherent idea or narrative logic.
The film explores the ways in which cultural assumptions and biases tend to obscure reality even when reality is plain, and the way our perceived differences keep us from finding a human connection to one other.
The actors -- including [González Iñárritu's] two big stars -- are all wonderfully real, seemingly as surprised by the depths and dangers of their circumstances and emotions as we are.
This is not a fear-mongering movie, but it is unpredictable and shocking, with compassion hanging on for dear life.
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