Darren Aronofsky’s Noah is an incredibly epic disaster film. It’s a non-apologetic reimaginging of the the Bible’s most famous story. Unfortunately for believers, Mr. Aronofsky makes the story his own, and any accuracies in the film focus on the dark truths of a vengeful God in the Old Testament. For the rest, he simply fills in the blanks. There was an initial fear going into this film that one of our most wonderfully controversial directors of this or any era would be selling out to the big budget spectacle. That couldn’t be farther from the truth. This is first and foremost an Aronofsky film on his most grandiose stage yet. Casting Russell Crowe and Anthony Hopkins may have eased the minds and wallets of producers who put up a $125 million budget, but the notorious auteur still manages to deliver his signature tale of overwhelming obsession.
Without giving too much away, there is the promise that Aronofsky will provide at least one moment of complete distaste or stomach-churning drama. Instead of hardcore sex, intense drug use of wrestlers and heroin addicts, or the bloody hangnail of a hallucinating dancer, Aronofsky goes full taboo and threatens the murder of a baby. In the most intense scene of any movie in recent years, the scene reveals no blood but is devastatingly affective. In the end, Noah is an incredibly flawed film with mediocre performances and spectacular cinematography and special effects. The segment where Crowe’s Noah describes the story of creation is worth the price of admission. Kudos to the realistic CGI that depicts centuries of evolution and development in just a few moments. Aronosfky fans should not hesitate.