BABYLON AD NOW AVAILABLE

BABYLON AD NOW AVAILABLE ONLINE

Here is the summary for the movie Babylon AD from imdb

In the near future, Toorop (Vin Diesel) is a mercenary who takes the job of escorting a woman named Aurora from Central Asia to New York. While he thinks this is just an ordinary mission, he gradually finds out that his guest is carrying twins that have the potential to become the next Messiahs - and everybody wants to get their hands on them.

Here is a review for the movie Babylon A.D. from Dvdtalk

Oh, it's been a weary road for "Babylon A.D." Not only has the film been handed a lousy late-August release date, had its original R-rated intent chopped to fit constrictive PG-13 requirements, and touts Vin Diesel as its star, but the director, Mathieu Kassovitz, disowned the movie during a hissy fit interview this past week. Now there's a picture with some astonishing bad luck. Frankly, it doesn't deserve such a public meltdown. It's not a solid feature, but "Babylon" is far from the total disgrace media reports would have us all believe.

Toorop (Vin Diesel) is a mercenary, trying to survive in a future world where violence is a common sight across the increasingly restless globe. Hired by a gangster (Gerard Depardieu, unfortunately dubbed by another actor) to deliver a piece of human cargo from Mongolia to New York City, Toorop is introduced to Aurora (Melanie Thierry) and her handler Rebeka (Michelle Yeoh). Trying to maneuver his way around tightly-guarded borders and curious thugs, Toorop bears witness to Aurora's distinctive flashes of anxiety and intelligence on several occasions, leading him to question just what in fact he's escorting to a major city for an organization he's not familiar with.

Adapted from the French novel "Babylon Babies," this semi-remake of "Children of Men" (squint and you'll see the similarities) was purportedly Kassovitz's dream project before the cold wrath of Hollywood reality put a force choke on his elaborate plans. It's difficult to judge "Babylon" in its current form since the film has been noticeably compromised. The PG-13 cut is streamlined to include only the barest amount of plot and the loudest amount of action, an edit rhythm familiar to the average Diesel fan, I'm sure.

Huge sections of the narrative have been erased, leaving the central mystery of Aurora...well, still a mystery by the film's conclusion. Actors Charlotte Rampling and Lambert Wilson show up to play Aurora's combative "parents" and their place in the overall scheme of things is blurred by the reconfiguration of the plot. Rampling is something of a villain in "Babylon," but her motivation is missing, along with seemingly several of her big scenes. She ends up oddly disappearing from the picture in the third act as car chases and gunfire swoop in to numb the audience into a false sense of closure.

While plenty of "Babylon," and its swirl of religious symbolism and messianic introductions, bewildered me, I won't say it bored me. Even squished under Fox's thumb, Kassovitz places his ragged Euro stamp on the production, leaving behind a gritty, well-funded vision of the future. "Babylon" benefits from impressive production design achievement and a generous consumption of a monster budget. The film looks great, and takes a few clever swipes at corporate logo omnipresence and clubland barbarism during the ride. The picture may be a mess, but it's shot beautifully (by the superb Thierry Arbogast), scored with some gusto, and offers the screen a detailed world to survey with rising interest.

With the perennially dreadful Diesel in the lead, perhaps "Babylon" never held a true shot at greatness. The actor is unable to reach the few emotional peaks the film makes room for, leaving him more suited for the awkwardly placed action sequences. The material needed a softer presence in the deliveryman role, not an indecipherable hardass. Thank heavens for Yeoh and Thierry, who find the proper dramatic notes to play with the little they have to do.

As an offering of cheap sci-fi thrills, "Babylon" won't satisfy the typical pushover crowd. As an intelligent discourse on the future of mankind, the film is too condensed to make any sense. "Babylon A.D." is adrift, lost somewhere between the demands of a profit-manic studio and a passionate, unleashed director. There's no way great cinema could emerge from that combustible mix.

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WHAT HAPPENS IN VEGAS IS NOW AVAILABLE

WHAT HAPPENS IN VEGAS IS NOW AVAILABLE ONLINE

HERE IS THE SUMMARY FOR THE MOVIE WHAT HAPPENS IN VEGAS FROM IMDB

Set in Sin City, story revolves around two people who discover they've gotten married following a night of debauchery, with one of them winning a huge jackpot after playing the other's quarter. Unhappy pair try to undermine each other and get their hands on the money -- falling in love along the way. Written by Marisa_Gabriella

HERE IS A REVIEW FOR THE MOVIE WHAT HAPPENS IN VEGAS FROM DVDTALK


What happens in Vegas? Well, it usually involves a truckload of booze, which is something not readily available in a movie theater and would help this shrill monstrosity of a romantic comedy greatly. If I had anything kind to say about Ashton Kutcher and Cameron Diaz before this film, I'm ready to take every word back.

Traveling to Las Vegas after suffering some immense personal setbacks, Joy (Cameron Diaz) and Jack (Ashton Kutcher) find themselves thrust together by accident. Over drinks and a swinging night on the town, the two open up their hearts to each other, which leads to a quickie wedding. After deciding the next morning to erase their mistake, Jack hits a slot jackpot with Joy's quarter, and both claim the grand prize. Sentenced by a judge to work out their differences over a six-month period of time, the two take the opportunity to declare war on each other, hoping to snatch all the loot for themselves.

"Vegas" is abrasive, needless, and unpleasant. Just like the real Las Vegas. It's an old-fashioned star-driven comedy that is gliding on the charm of the two leads, yet there's no story here, no recognizable emotions. The film is a crass collection of dreadful slapstick, deafening performances, and a romance that, even by loose screen standards, makes no sense whatsoever. "Vegas" is junk food: you'll forget it the minute you step out of the theater. Perhaps even earlier than that.

Because so much of the film is carried on the backs of Kutcher and Diaz, one would think director Tom Vaughan would take better care to protect the characters from becoming completely toxic; instead, Joy and Jack are insufferable morons and it's a chore to watch Diaz and Kutcher attempt to cozy up to these hostile roles. Mostly, the actors yell and fall, and then yell some more, all because some Hollywood boob told Kutcher a long time ago that screaming is hilarious. The two bop all over the frame, frantic to sell the anguish of forced marital bonding, while pushing ahead with eye-rolling pranks (most concerning the toilet) and sitcom coincidences. Vaughan is hopeless here, and he does nothing to temper the ear-splitting performances. With Kutcher hamming it up and Diaz in full pinched-face mode, there isn't a single thing to embrace here. Perhaps this is why the leads are frequently shedding their clothes.

There are two capable people in the background much more interesting; comedian Zach Galifianakis and actress Lake Bell hold up the best friend delegation (along with Rob Corddry) and are severely underutilized in the final product. Both actors are far more entertaining than Kutcher and Diaz, and would provide a more motivating, combustible relationship for the director to work with. But then again, you'd probably pass on seeing them without clothes. Well, maybe just Galifianakis.

Because the screenplay by the execrable Dana Fox ("The Wedding Date") is not in the mood to sample anything new, "Vegas" runs on autopilot in the final act, where...get this: Joy and Jack actually develop feelings for each other! As a boldfaced cliché, it's deplorable, yet I was sucked into this segment of the film if only because "Vegas" finally gets quiet. The performances are suddenly dialed way down, and the burden of laughs is thrust upon the supporting cast. Hey, when a film is this obnoxious, I'll take all the silence I can get.

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