'Babylon' Review: Good, Could’ve Been Great

Margot Robbie in Babylon courtesy of Paramount Pictures.

It’s been four years since we’ve seen a film from director Damien Chazelle (Whiplash, La La Land, First Man) on the big screen, and his long-awaited return isn’t all it should’ve been. Babylon is the hectic, drawn-out story of old Hollywood, following the rise and fall of its protagonists. The film follows Nellie LaRoy (Margot Robbie) and Manny Torres (Diego Calva) as they navigate early Hollywood in 1920s Los Angeles and try to get their foot in the door of the film industry.

(L-R) Margot Robbie & Diego Calva in Babylon courtesy of Paramount Pictures.

In a word, the film is a spectacle. With a fantastic first act, we’re instantly drawn into the story of the two protagonists, and Chazelle’s work on paper and behind the camera makes us care about what happens to them. The film’s opening sequence slightly disconnects the audience from what’s to follow but certainly sets up the tone of the following sequences perfectly. The sheer scale and madness of the first extended sequence are breathtaking yet exhilarating and tiring. The film seems to lack purpose and feels unguided until the introduction of Nellie LaRoy (Margot Robbie), instantly adding urgency and creating relatable dynamics in the story. Robbie shines in what may be her best on screen, lighting up the screen and demonstrating the full range of her talents. Her chemistry with co-lead Diego Calva radiates off the screen, and many of their scenes are truly enjoyable to watch.

Margot Robbie in Babylon courtesy of Paramount Pictures.

The rest of the supporting cast is introduced particularly well, with specific performances standing out more than others. Li Jun Li’s mysterious Lady Fay Zhu comes into the film with one of the most unforgettable musical performances in the history of film and continues to be a great addition to the supporting cast. The other top-billed performer, with his name first on the poster, is Brad Pitt. Pitt’s performance in Babylon is genuinely forgettable and is not a good addition to his filmography. While it is written in the script that Jack Conrad (Pitt) is a bad actor, the character’s arc doesn’t land particularly well, and the emotions you intend to feel for him aren’t there. The other notable supporting additions throughout the film are Elinor St. John (Jean Smart), Sidney Palmer (Jovan Adepo), and James McKay (Tobey Maguire), with the latter actor being off-the-rails crazy in somewhat of a questionable decision in the film’s script.

Margot Robbie in Babylon courtesy of Paramount Pictures.

The film’s first act is incredible, bringing us into the hectic world of filmmaking and setting up the rest of the film, which unfortunately fails to live up to its opening. After an astonishing opening, the film speeds through a perfectly paced, well-shot fever dream filled with great performances, with the clear standout being Margot Robbie. One scene, in particular, highlights Robbie’s talent as an actor, and she is truly a joy to watch.

Before delving into the rest of the film, more specifically, what I didn’t like, it feels like a good time to address the incredible score from composer Justin Hurwitz (La La Land, Whiplash, First Man). Take this from someone who really doesn’t enjoy jazz, Hurwitz’s score is the true driving heart of the film, providing urgency with his chaotically arranged pieces like “Voodoo Mama” and “Coke Room” while demonstrating his expansive use of instrumentation and ballads with tracks like “Manny and Nellie’s Theme.” I’d hate to give away the genius of the film’s score too soon, so keep your eyes peeled for an in-depth look into its genius and madness and how Hurwitz uses repetitive motifs to display varying emotions and tones.

(L-R) Jean Smart & Brad Pitt in Babylon courtesy of Paramount Pictures

The film starts to veer off of the track as it closes out its first act, with this becoming more prominent as the film plays out. As we sit through the film’s excessive 3+ hour runtime, we watch Chazelle’s screenplay become unhinged and unfocused, and it feels like Chazelle has run out of things to say. That’s not to say that there aren’t profound moments of dialogue, such as the phenomenally-delivered monologue from Jean Smart in the film’s third act. Unfortunately, that might be one of the only good moments from the film’s latter half. The script leans away from the titular theme of “Babylon,” a place that defined itself as the capital of an empire, a place of advancement, and leans into the coked-up creation you wouldn’t expect from a director like Chazelle. There were multiple natural, albeit shocking, ending points in the film throughout its second half, but Chazelle trudged on. For better or worse, the movie is undoubtedly an experience. The film takes wild turns and makes incredibly bold decisions, with some working and some leaving viewers questioning what they just witnessed. And then, just when you think it’s all over, the film does the boldest thing it can and goes incredibly meta, resulting in a sequence that confuses viewers while emotionally tying the story together.

Ultimately, despite the best efforts of Robbie, Calva, and Hurwitz, Babylon overindulges and pushes itself too far, resulting in a messy second half. The film boasts a fantastic first half but quickly runs out of things to say and stutters until it crafts an ending that leaves viewers questioning what they just witnessed. Catch Babylon exclusively in theaters beginning on December 23.

This film is unsuitable for children, featuring gratuitous violence, language, and nudity.