The New ‘Old’ Hollywood that is ‘Babylon’
‘Babylon’ is an exhilarating journey one has to brace themselves for

College graduate Jiang Chao returns to his hometown Quzhou and hopes to become a teacher. He lives with his sister Jiang Wei, a tour guide, and brother-in-law Zhang Qi, a driving school instructor. Chao meets Zhou Yuan at the school when he covers Qi’s shift; in the name of practicing, they drive around the memory-laden Lanke Mountain. Meanwhile, as Jiang Wei decides to participate in a tour-guide competition, she finds herself further distant from Qi; the legend of Lanke Mountain also seems to play a part in their relationship. As their adventures unfold, the small town’s landscape starts to transform.
‘Babylon’ is an exhilarating journey one has to brace themselves for
Darren Arronofsky focuses on diverse and heartbreaking stories about the human experience.
In order to learn why an arguably outdated fanfic trope was resurfacing in the contact zone of popular culture, I dove into a vibrant trough of character development.
A Christmas movie that is not about a middle-class, straight relationship but centers on a lesbian couple.
I write for a diversity-focused film review blog, so I’ll be honest: I really wanted to like Pretty Lethal. Starring Maddie Ziegler, Lana Condor, Iris Apatow, Avantika, and Millicent Simmonds, Amazon Prime’s new thriller seemed like it would be a girl power movie about dancers with a horror action twist. Sort of a Suspiria for teens. But with shallow and unlikeable characters, a confusing plot, an overreliance on violence, and cringey dialogue, any fun the movie started out with was quickly lost. What was left was a faint echo of greater horror movies about dancers made before.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.