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Noah
(Darren Aronofsky, 2014)



Aronofsky, why hast thou forsaken me?

Noah was one of my most anticipated movies of the year, not because of the story, but because of the man behind the camera. With the exception of The Fountain (which is in dire need of a re-watch), I've loved everything Aronofsky has done. He's one of the most exciting filmmakers of this generation. But I was worried that Noah, with its 125-million-dollar budget, wouldn't feel like an Aronofsky movie. I was right.

What does it feel like? A movie with schizophrenia. Part Hollywood epic, part art-house. It's the result of an atheist director giving his own take on a biblical story, then, for fear of offending the religious right, restraining from his full artistic vision. Never is that more clear than during the "creation" sequence. We're treated to a beautiful montage that begins with the big bang and shows the evolution of the universe and the origin of life. We start at the bottom of the family tree and watch as a single-celled organism adapts and evolves over hundreds of thousands of years. Once we reach the "ape stage," I sat up in my seat, wondering if he was about to cause an uproar with the Christians in the audience, but once again Aronofsky restrains himself by interrupting the montage to show humans "created in His own image."

Many Christians will probably be upset by the overt fantasy elements in the movie (yes, I understand the irony in that statement), as well as the unlikable portrayal of Noah. The trailers have been very careful to omit the stone giants that play a prominent role in the film. They look like something from The NeverEnding story. (And speaking of never-ending stories, the movie is way too long and drags mightily in the last act.) Even though the stone giants initially threw me for a loop, the movie gives a satisfactory explanation for their presence which fits perfectly into its religious themes. Honestly, the stone giants were one of the most interesting parts of the movie, and their battle as the flood ensues was the most exciting part of the movie, even if it did feel like a deleted scene from Lord of the Rings.

Everyone in the cast not named Russell Crowe is relegated to background furniture. That's unfortunate, since Jennifer Connelly and Emma Watson really shine during the few opportunities that they get. I also thought the CGI was way too noticeable at times, especially during an early scene involving Spyro the Dragon's little nephew. The script is overloaded with ideas and the whole film is a mess. Despite all of that, however, there are brief moments of brilliance. Several scenes are strikingly beautiful. There's some great imagery, especially during Noah's visions, which are the most Aronofsky-like thing in the movie. Ultimately, however, the film crumples under the weight of its own ambitions. It's too unorthodox to appeal to the religious crowd, but too Hollywood to appeal to the director's fan base.