Debuting in 2008, “Babylon A.D.” found itself squeezed between two installments of the “Fast and Furious” saga, “Tokyo Drift” and “Fast & Furious.” This movie envisions a dystopian future dominated by powerful corporations and rampant crime. Here, Diesel portrays Hugo Toorop, a hardened mercenary tasked with escorting a mysterious young woman, Aurora, played by Mélanie Thierry, to New York City. Accompanying them is Aurora’s protector, Sister Rebekah, portrayed by Michelle Yeoh. As the journey unfolds, it becomes apparent that Aurora possesses extraordinary, almost supernatural abilities that draw the attention of nefarious entities.

Despite boasting a talented ensemble and striking visuals, “Babylon A.D.” fell short of becoming the sci-fi classic it aspired to be. Its attempt to juggle too many complex themes resulted in a disjointed narrative. Plans for a broader series were quickly shelved following its poor reception. The film’s chaotic execution is far from Diesel’s finest work, and even those involved in the production openly acknowledge its shortcomings.

Adapted from Maurice G. Dantec’s novel “Babylon Babies,” the film brimmed with promising high-concept ideas. However, director Mathieu Kassovitz has candidly reflected on the project’s troubled journey. In a revealing 2008 interview with AMC, Kassovitz lamented the process, citing a lack of creative control and poor collaboration. “The script wasn’t respected,” he shared, pointing fingers at “bad producers” and “bad partners,” labeling the experience as downright “terrible.”

Based on a book titled “Babylon Babies” by writer Maurice G. Dantec, “Babylon A.D.” was full of high-concept ideas that could have made it something special. But the film’s director, Mathieu Kassovitz, admits that it wound up a mess of a film, with muddled messages lost amid a cacophony of action spectacle that he, as director, still felt powerless to control. “The script wasn’t respected,” Kassovitz told AMC in a 2008 interview. “Bad producers, bad partners, it was a terrible experience.”

Kassovitz explained that he was originally drawn to the story because of its important social messaging. “The scope of the original book was quite amazing,” he insisted. “The author … saw that as wars evolve, it won’t be just about territories anymore, but money-driven politics.” Sadly, however, the entire production was plagued with problems, including studio meddling and interference from lawyers and executives who didn’t seem interested in making a good film. 

“The movie is supposed to teach us that the education of our children will mean the future of our planet,” Kassovitz said. While the action he’d planned was supposed to be in service of that message, he acknowledges that the production problems derailed it. “All the action scenes had a goal: They were supposed to be driven by either a metaphysical point of view or experience for the characters… instead, parts of the movie are like a bad episode of ’24.’” In the end, it’s one of the films Michelle Yeoh, a future star of the “Avatar” movies, would like you to forget about.