El Iñárritu No Tiene Ropa

Dennis Cozzalio verbalises what everyone else is thinking but reluctant to admit publicly. As his lead image of the biblical tower suggests, Babel is a self-aggrandizing endeavor whose result is ultimately a pile of rubble.

As my 85th place ranking attests, I couldn’t agree more. (For more Cozzalio-inspired goodness, refer to Professor Jennings’ Holiday Midterm.)

5 thoughts on “El Iñárritu No Tiene Ropa

  1. jeri says:

    I liked it more than you, but definitely found it flawed. I like this review and the points it makes. I think the Mexican new wave directors are all caught up in style over script and are too heavy on shock value for their own good. They are excessive in the wrong places, which is a shame, because one can see interesting ideas behind their movies, but we’re always left thinking about how much better the movie COULD have been.

  2. Nobody says:

    See my comments on the same post for my more specific thoughts on Babel and what I think is the difference between Cuaron and his counterparts in the Mexican triumvirate.

  3. jeri says:

    I agree and disagree. Cuaron seems to show more promise, but can also be prone to the same weaknesses I mentioned. I think his rendition of Harry Potter 3 is an example of this. It focused too much on looking artistic and less on being true to the spirit of the book. I think it’s one genre he failed at because he had his own agenda for the book and ended up altering the story and geography so much that the movie is my least favorite of the three that have been released. But I know I’m a minority on that.

  4. Nobody says:

    Oh, interesting. I didn’t know how much he altered it as I haven’t read the books.

    I never saw the first two HP movies as I heard they were overlong and too slavish to the books, but seeing HP3 on an airplane hooked me with how good it was. It was definitely stylish and I especially loved the Back to the Future Part II-style final act, but again I don’t know if that was in the book or not.

  5. I didn’t see Babel but I did see 21 Grams, and a pile of rubble it was. When are Oscar-fodder films going to get tired of the “suffering is meaningful for its own perverse sake” riff? Style is substance?

    I liked Run Lola Run for the Existential pathos that seems to imply only something more could be meaningful.

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