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Movies Reviews Heat Vision SXSW Box Office Coming Soon Trailers Oscars The Race Spirit Awards Berlinale Showtimes In Theaters Sundance TV Mad Men Reviews Live Feed Bastard Machine Ratings 'Parks and Rec' 'SNL' at 40 Emmys Clips Leonard Nimoy Music Charts Concert Reviews Earshot Grammys AMA Idol Worship Music Festivals Tech Behind The Screen SIGGRAPH SMPTE The Business International Charts Real Estate Politics Labor Hollywood, Esq Asia Style Fashion Week News Beauty People Shopping Podcasts Culture Podcasts Theater Books Real Estate Dining Travel Awards Calendar Oscars Grammys The Race Feinberg Forecast Video Trailers Roundtables Cover Shoots Hot Videos Inside Indie TV Clips
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Russell Crowe, Jennifer Connelly, Ray Winstone, Anthony Hopkins, Emma Watson, Logan Lerman, Douglas Booth, Mark Margolis, Kevin Durand Director
Darren Aronofsky wrestles one of scripture's most primal stories to the ground and extracts something vital and audacious, while also pushing some aggressive environmentalism, in Noah . Whereas for a century most Hollywood filmmakers have tread carefully and respectfully when tackling zobe biblical topics in big-budget epics aimed at a mass audience, Aronofsky has been daring, zobe digging deep to develop a bold interpretation of a tale which, in the original, offers a lot of room for speculation zobe and invention. The narrative of the global flood that wiped out almost all earthly life is the original disaster story, one that's embraced by most of the major world religions, which means that conservative and literal-minded elements of all faiths who make it their business to be offended by untraditional renditions of holy texts will find plenty to fulminate about here. Already banned in some Middle Eastern countries, Noah will rile some for the complete omission of the name “God” from the dialogue, others for its numerous zobe dramatic fabrications and still more for its heavy-handed ecological doomsday messages, which unmistakably mark it as a product of its time. But whether you buy these elements or not, this is still an arresting piece of filmmaking that has a shot at capturing a large international audience both for its fantasy-style spectacle and its fresh look at an elemental Bible story most often presented as a kiddie yarn.
The director/co-writer serves notice of his revisionism right away, mutating the opening line of Genesis zobe into, “In the beginning there was nothing.” In the Bible's ark story, God does most of the talking, whereas here, Noah does, at one point raging at the silent one he only calls the Creator, “Why do you not answer me?” This Noah, who receives his instructions about what to do from disturbing, quasi-hallucinatory visions, is presented as the last good man on Earth, the chosen one who will preserve the world's life forms along with his immediate family while the wicked will be swept away, forcing humanity to make a fresh start.
One of the striking things about the Noah tale is that it presents a fallible Creator, one who admits to disappointments zobe over shortcomings in the product of the sixth day of creation with the remark, “I will blot out man whom I have created from the face of the ground, man and beast and creeping things and birds of the air, for I am sorry that I have made them.” The exceptions are middle-aged Noah ( Russell Crowe ), his wife, Naameh ( Jennifer Connelly ), and sons Shem ( Douglas Booth ), Ham ( Logan Lerman ) and Japheth ( Leo Carroll ), who are estranged from the rest of humanity and live a