‘Babylon A.D.’: Post-doomsday cliché

(Published Sept. 8, PDI-Entertainment)
By Oliver M. Pulumbarit
Contributor

Science fiction-action flick “Babylon A.D.” presents recycled dystopian epic concepts better explored by more polished films from both genres previously. Post-apocalypse blues, clones, and mercenary mayhem don’t necessarily blend smoothly this time, as the film (loosely based on the book “Babylon Babies”) offers a world that’s more disjointed than usual. Also, while it is a Vin Diesel starrer, the action sequences are considerably fewer and less stunning.

The other requisites are present: Diesel is the conflicted but dependable merc Toorop, who must escort a young mystery woman, Aurora (Melanie Thierry), from a Kazakhstan convent to New York. They’re accompanied by her protective guardian Sister Rebeka (Michelle Yeoh), a nun adept at martial arts. There are perilous encounters aplenty, with stalkers sent by a mysterious figure, merciless border patrolmen and other nasty brutes. Aurora soon exhibits extra-human abilities, which is why various factions have been scrambling to acquire her for their purposes. But Toorop decides that he can’t deliver her to whatever sorry fate awaits her.

“Babylon A.D.” actually tries to tell a story about humanity and the human condition after the post-doomsday cliché. Toorop’s inner conflicts--his selfishness versus heroism tendencies--are easily understandable, but not really new or appealing. Aurora’s confused psyche actually piques the curiosity more, because there’s a lot about her that’s shrouded in mystery. But once that layer of mystery is peeled when secret histories are revealed, more questions are raised, and they won’t get satisfying answers.

The film’s future reality is an odd but pleasing mix of advanced technology and rougher present-day designs. The visuals are okay; a balance between progress and blight is captured. However, the huge soft drink emblem on one airplane just yanks you out of it.

As usual, Diesel is gruff and growling, and beats enemies to a pulp. Toorop, like almost every tough and muscular rogue we’ve encountered in recent years, is someone who finds redemption somehow, and goes against his professional “programming.” Too bad some crucial scenes depicting character development are skipped later. The movie’s narrative suffers when some muddled, complicated histories are told and not shown. Explanations don’t always suffice, and the unraveled enigmas here lose their mystique really fast as a result.