Director Matthieu Kassovitz's tumultuous relationship with his film Babylon A.D. exemplifies the extremes of creative dissatisfaction in cinema. While many directors express discontent with their work, some go so far as to publicly disown their films before they even premiere. Kassovitz took this a step further, chronicling his grievances in a documentary titled Fucking Kassovitz, which details the myriad frustrations he faced during the production of this 2008 science fiction action spectacle. This film effectively marked the end of his Hollywood career.
Babylon A.D. is loosely based on Maurice G. Dantec's 1995 novel Babylon Babies. The narrative transports viewers to a dystopian near-future where geopolitical structures have regressed to resemble those of the 1990s. In this world, the United States stands as a beacon of prosperity, while post-Soviet Russia and its neighbouring countries have devolved into poverty and chaos. This setting serves as a backdrop for elite mercenary Toorop, portrayed by Vin Diesel, who is hired by powerful Russian mobster Gorsky (played by Gerard Depardieu) to transport a young woman named Aurora (played by Mélanie Thierry) from a monastery in Kyrgyzstan to America. Accompanied by Aurora’s mentor Sister Rebeka (played by Michelle Yeoh), Toorop soon discovers that Aurora possesses unusual powers of perception. As they journey towards New York City, they encounter rival mercenaries and cult eager to exploit Aurora’s abilities, culminating in a series of violent confrontations.
The film's ambition is evident in its substantial budget, which allows for visually striking mass scenes, including a notable sequence featuring a submarine smuggling immigrants into Alaska. However, beneath this surface-level spectacle lies an ambition to explore profound themes regarding human identity and evolution in an increasingly technological future.
Unfortunately, it all gets buried in a rather unimaginative script that drowns in clichés, although the ending seems slightly unconventional compared to most science fiction thrillers. The casting is also a major issue. Vin Diesel, one of the most charismatic actors in the 21st century, seems completely wasted in the role, which is one of the most forgettable in his career. There is also an apparent lack of chemistry with all other cast members, including French actress Mélanie Thierry, who is reduced to eye candy. Gerard Depardieu looks ridiculous under heavy makeup, Charlotte Rampling provides one-dimensional portrayals of a female villain, while Lambert Wilson as a crippled cyborg-like scientist appears too late to have any impact.
Kassovitz's discontent on set was palpable; he frequently clashed with 20th Century Fox executives over casting decisions—most notably Diesel’s involvement, whom he disparagingly referred to as an "idiot actor." Following the film's release, Kassovitz lamented that what appeared in theatres was not reflective of his original vision but rather a product heavily edited by the studio. Viewers who endure the film are likely to resonate with his frustrations; at just 90 minutes long, the film offers scant opportunity for exposition or character development. Instead, audiences are bombarded with relentless action sequences that culminate in an ending that feels both hurried and nonsensical.
Kassovitz’s film was all but abandoned by 20th Century Fox and suffered a poor fate at the box office, being savaged by critics. There is an alternative "rough cut" version of the film with an extra fifteen minutes that apparently fills some of the plot holes, but definitely doesn't change the ultimate verdict of Babylon A.D. as one of the science fiction cinema fiascos of its time.
RATING: 2/10 (-)
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