Paramount Pictures via Everett Collection
Here's a feat: taking what is likely the oldest, most well-known story in the world, and making a retelling feel inventive. Over the course of its two-and-a-half-hour runtime, Darren Aronofsky's Noah takes many forms — Tolkien-esque fantasy, trippy psychological thriller, merciless dissection of the dark points of abject faith — never feeling too rigidly confined to the parameters of the familiar tale that we've all experienced in the form of bedtime stories, religious education lessons, and vegetable-laden cartoons. As many forms as the parable has taken over the past few thousand years, Aronofsky manages to find a few new takes.
The director's thumbprint is branded boldly on Russell Crowe's Noah, a man who begins his journey as a simple pawn of God and evolves into a dimensional human as tortured as Natalie Portman's ballerina or Jared Leto's smack head. Noah's obsession and crisis: his faith. The peak of the righteous descendant of Seth (that's Adam and Eve's third son — the one who didn't die or bash his brother's head in with a rock), Noah is determined to carry out the heavenly mission imparted upon him via ambiguous, psychedelic visions. God wants him to do something — spoilers: build an ark — and he will do it. No matter what.
No matter what it means to his family, to his lineage, to his fellow man, to the world. He's going to do it. No matter what. The depths to which Aronofsky explores this simple concept — the nature of unmitigated devotion — makes what we all knew as a simplistic A-to-B children's story so gripping. While the throughline is not a far cry from the themes explored in his previous works, the application of his Requiem for a Dream, The Wrestler, and Black Swan ideas in this movie does not feel like a rehashing. Experiencing such modern, humane ideas in biblical epic is, in fact, a thrill-ride.
Paramount Pictures via Everett Collection
Although Aronofsky accesses some highly guttural stuff inside of his title character, he lets whimsy and imagination take hold of the world outside of him. Jumping headfirst into the fantastical, the director lines his magical realm with rock monsters — "Watcher" angels encased in Earth-anchored prisons as punishment for their betrayal of God — and a variety of fauna that range in innovation from your traditional white dove to some kind of horned, scaled dog bastardization.
But the most winning elements of Noah, and easily the most surprising, come when Aronofsky goes cosmic. He jumps beyond the literal to send us coursing through eons to watch the creation of God's universe, matter exploding from oblivion, a line of creatures evolving (in earnest) into one another as the planet progresses to the point at which we meet our tortured seafarer. Aronofsky's imagination, his aptitude as a cinematic magician, peak (not just in terms of the film, but in terms of his career) in these scenes.
The best player in the World for movie trailers, Hollywood interviews and movie clips.
With all this propped against the stark humanity of his story — not just in terms of Crowe's existential spiral, but in character beats like grandfather Methuselah's relationship with the youngsters, in little Ham's playful teasing of his new rock monster pet — Aronofsky manages something we never could have anticipated from Noah. It's scientific, cathartic, humane. Impressively, this age-old tale, here, is new. And beyond that feat, it's a pretty winning spin.
Follow @Michael Arbeiter| Follow @Hollywood_com
No matter how many times Hollywood screenwriters trot out this tired hackneyed plot in failed horror movies there’s always another just like it around the corner. Stop us if you’ve heard this one before: An attractive young couple Kristen (Liv Tyler) and James (Scott Speedman) return to his family’s deserted secluded vacation home after attending a friend’s wedding reception. With roses petals strewn everywhere and a ring box in sight this was to be a night of elation for the couple--but something goes wrong. At 4:00 am just as things begin to pick up for them again romantically there is a loud knock at the door. Of course being mind-numbingly stupid movie characters they open it to discover a strange young woman asking if someone named “Tamara” was home. After that James has to conveniently leave for a while which leaves Kristen alone. What ensues is about 40 minutes of near encounters with three masked weirdos who clearly are not there to borrow a cup of sugar. When James returns Kristen must convince him there are people trying to terrorize her. It doesn’t take long before he gets the message and the two must use all their wiles to fight for their lives. Let’s face it this is not the type of script that’s going to attract Meryl Streep. Liv Tyler is the nominal lead and altough her rather expressionless weepy doll school of acting is an acquired taste she does prove she can scream with the best of ’em when the knives finally come out. Unfortunately much of The Strangers is ultimately reliant on the proposition that we care about this couple and their romantic woes. We don’t. Chemistry is nil between Tyler and co-star Scott Speedman whose bland performance doesn’t help matters. There’s really not much to say about the masked “strangers” (Gemma Ward Kip Weeks and Laura Margolis) who all act like zombies and speak in monotones. Glenn Howerton as James’ friend has some brief moments that threaten to liven up the proceedings but he’s in and out too quickly to make much of an impression. First time screenwriter/director Bryan Bertino pulls out all the clichés associated with this type of film. You’ve seen it all done many times before in any number of pictures from Straw Dogs to the recent Funny Games and Vacancy. Bertino’s gimmick seems to be letting the audience not the characters in on what’s about to happen. So often we see the killers lurking in the shadows unnoticed by our clueless leads. Then they vanish. This pattern is repeated over and over milking the “suspense ” but not making much story sense. There are a couple of standard movie jolts here and there to mix things up but mostly Bertino proves himself to be a better tease than director. No Hitchcock this dude! SPOILER ALERT: We have a policy about not giving away the ending but it sucks. Just like the movie.