Babylon A.D.

You have to wonder how any director gets a film made after listening to Mathieu Kassovitz moan about his issues with 20th Century Fox and their version of Babylon A.D. The film looks cool, it aspires to Blade Runner levels of futuristic dsytopia. The film is chock full of recognizable thesps. The ending is totally incoherent.
In the opening moments of Babylon A.D. Vin Diesel tells the audiences he dies at the end. But with a plot that involves the virgin birth of twins, death doesn't exactly mean demise. Toorop (Diesel) sports Necronomicon tattoos and lives in a grungy apartment where he cooks an animal he just chopped up. It's little surprise his services are in demand from master criminal Gérard Depardieu (actually wearing a bigger fake nose than his own huge proboscis). Next thing we know Toorop is leading a chosen one and her guide (Mélanie Thierry and Michelle Yeoh) across Kazakhstan, then through the Bering Strait and eventually to a New York City of the future (tons of skyscrapers and people). After the first hour of running around the globe, Toorop drives his companions to upstate New York with all sorts of baddies in pursuit.
The High Priestess of the World (Charlotte Rampling) conspires to snuff all the good guys. By this point the film has become incomprehensible in spite of its sleek look and adventurous plot. Babylon A.D. resembles the Tower of Babel with attention deficit disorder. This is one film so convoluted it demands the viewer seek out the original source material (a French sci-fi novel by Maurice G. Dantec).