Babilon

I guess I'm too old for this kind of conceptually and dramaturgically disjointed and incoherent films, where nothing works and the mess on the screen slaps you so hard that you're completely numb and tired at the end. The only thing that works a little bit is the references to old classics, but these days they can emotionally enrich you incomparably more and they only need half the running time. This looks like it wasn't even made by Damien Chazelle, but by some egomaniac who merely needed to propel himself over his supposed genius. The production design and music are top notch, the should by shat on elephant shit and flushed. (06.09.2023)

Babylon is a subjectively irrelevant and aesthetically disjointed depiction of early Hollywood with hackneyed (Brad Pitt), uninteresting (Diego Calva) and annoying (Margot Robbie) lead characters. Chazelle overshot the mark. If it weren’t for the accompanying jazz interludes, you wouldn’t even recognize him in this. The wild parties and scenes of hectic filmmaking are entertaining, but you can sense the strong theatricality in them. The scene of filming on the first soundstage is the best of the whole film, both in its execution and cinephilic dimension. But as soon as the overly long runtime veers into into a fatalistic lament over the inability to go along with progress, it gradually goes downhill, all the way into the “LA shit hole”, i.e. the most WTF scene in the whole film. (06.03.2023)

Babylon can make a very impressive first impression. Within the opening thirty minutes, Damien Chazelle serves up physical humour that even Dumb and Dumber would be proud of and a wild orgy of fun filled with sex, cocaine, alcohol, loud music and plenty of reasons for anyone who despises Hollywood to despise it even more. The Wolf of Wall Street would probably walk away from this party disgusted halfway through. But this is where we meet several protagonists who will spend the next few years trying to carve out a little fame, fortune, wealth or respect in Hollywood. And far from all of them succeed. Babylon looks like a grand Luhrmann-type film at first glance, but it's only superficial. Chazelle knows very well how to make the viewer admire his depiction of Hollywood in the 1920s and 30s on the one hand and despise it on the other. He knows how to make his characters laugh, but at the same time make the viewer worry about them, wish them luck or watch their slow, unavoidable fall. And while it looks truly spectacular – not only during the lavish parties, but even during the actual filming of one small scene, which the director manages to turn into an absurd grotesque – at its core this epic drama is actually a rather intimate story of people who have been "there" for a while, had a chance to create dreams and didn't notice that their own lives were turning into a nightmare. Great film. (05.01.2023)

An epic Masterpiece by Damien Chazelle and a future cult classic! I'm sorry I missed the film at the cinema and I deserve a bullet in the head, this one of the best films I've ever seen. Movies, jazz and cocaine clearly define Babylon, a film divided into three acts and they all have their own angle. The first act is one crazy sick and epic party, where my only regret is that I didn't attend it. The 1920's and depravity of the highest caliber, drugs and sex at every turn, that’s the first 30 minutes. Thanks to the daring, crazy dance creations and the incredibly dynamic music, it draws the viewer fully into the plot and keeps them there until the end. (I'll be watching this act a lot, it’s properly wild!!). Act Two – The Birth of Hollywood – is a wonderful peek behind the curtain as it was and is still going on with all the bad and the good. The journey to fame for ordinary people, the making of movies – incredibly chaotic and people are getting hurt at every moment – the battle of the big companies (Warner, MGM), the transition to talkies, in short, it was incredibly engaging for me and it was great to have been able to experience from the beginning the film industry I could not imagine life without today. Chazelle's strong ambition made my dream come true. The third act takes an unexpected turn into a twisted underground exploitation hell. The underworld of early Hollywood is reminiscent of the world's greatest evil and my mouth was wide open with all that was happening on screen again. The whole film is uniquely shot, 3 hours passes like water thanks to the incredibly fast pace, the dynamics ( the pace here is better and faster than in Avatar 2, and that's saying something). Thanks to the great jazz music, even an ordinary scene can get incredibly dramatic, and I felt like the whole movie was one crazy action ride, pumping me up with one awesome remarkable scene after another. Margot Robbie gives the best performance of her career, she steals the show and outdoes even the excellent Brad Pitt, while the likeable Diego Calva is brilliant. The film isn't afraid to be twisted, bizarre, sick and even brutal (I really didn't expect to see gore here!!), and if that crocodile had eaten someone at the end, I would have been over the moon. A film that has heart, incredibly explosive energy, a compelling script, top actors, top direction and top ideas. I have nothing to complain about. 10/10. (09.03.2023)

“Never have I seen such a maelstrom of bad taste and sheer magic.” Two feature films in one, each about something different. One is riveting, bold, frantic, brash; like a Mad Max: Fury Road of the film industry during the silent era. The other is also very good, but classic in themes and concept. It's about nostalgia for bygone times, inevitable progress and the love of cinema. Both are superb, though each in their own way. The first is an ocean liner better, for it is purely Chazelle's. The latter, for all its qualities, comes across as "merely" Chazelle's respectful homage to Sunset Blvd., Cinema Paradiso and the like. The worst thing for both films, however, is that they pretend to be one, which doesn’t help either of them. (28.05.2023)