BABYLON Review – Indulgence, Talent, and Subtext

Damien Chazelle’s latest film has been called many things: grotesque, overlong, indulgent. But there’s a difference between an indulgent film and a film about indulgence. BABYLON, set in 1920s Hollywood, opens hard with graphic bodily functions, and though those burners never fully extinguish, it’s the hardest the film goes for some time. A deliberate message: […]