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Babel (2006)
Tomatometer
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Reviews Counted:40
Fresh:25
Rotten:15
Average Rating:6.5/10
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.
Runtime: 2 hrs 23 mins 1 sec
Genre: Dramas
Theatrical Release:Oct 27, 2006 Limited
Box Office: $34,237,104
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
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Reviews for Babel
[Iñárritu] remains as entranced as ever by fate, loss and the interconnectedness of humankind, and I admire him for it. But Babel isn't the last or best word on that subject. It's just a lot of talk.
True to its title, Babel hinges on missed and faulty communications of both the personal and the cultural variety. It's a sweeping movie about characters who often suffer from tunnel vision.
Babel is the masterful third installment in this trilogy of truth and consequence.
As each story comes to its conclusion, some characters rise above, while others are crushed under the weight of the day's events. The tales are equal parts miracle and tragedy. And that's often what life is, which makes Babel ring true.
One of the most challenging and saddest movies of the year -- and also one of the most memorable.
The filmmakers don't seem to understand or care much about many of these people, but they use them to unload ideas about violence, communication, and tribal misunderstandings -- trading on suffering as they aim for cosmic wisdom.
Good intentions don't always make good movies. And this one simply wasn't worth their effort.
For a movie that insists on the truth of humanity's mutual dependency, Babel feels disconnected from anything but its own artistic determinism.
Babel is supposed to be a cry of humanist anguish that echoes -- in four languages -- around the world. Why does it feel as much like an elaborate game of middlebrow post-millennial Clue?
In the end, a film of profound ambition is unmasked as one without real purpose, a misguided attempt to make a serious, important statement despite having nothing, really, to say.
An extension and expansion of 21 Grams in every way, and this time proves too much of a mystical thing.
Individually, the stories are beautifully shot, intimately acted and usually engrossing.
The director interweaves his stories like a symphonic composer, teasing out suspense here, adding foreboding there, bringing in a surge of crushing pathos, but then providing a blessed note of hope and reconciliation.
It's pretty -- oh, what's the word? -- stupid in its dramatization of the silly little connections that unite us, and it's somewhat selective in its choice of them.
It sweeps you along in a tide of cinematic energy and high-voltage drama.
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| Tomatometer Percentage | Movie |
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| 15% 15% | The Ugly Truth |
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