Noah contemplates long and hard on whether or not man is worthy of sharing the planet with other life forms. Spoiler alert…we win the debate.
Once the potential mankind-threatening conflict becomes clear to the Ark’s captain (“Everything that was good we shattered.”), and his intentions have been declared to his wife and perpetually blubbering offspring, the final 40 minutes of the picture get mired in tediously redundant sobbing and whining, maneuvering and pleading worthy of a Days of Our Lives installment.
Even more surprising, though, given the phenomenal state of today’s cinematic special effects capacity, is that the imagination and wonder inherent to the grandest Biblical story of them all are relatively unspectacular, coming off more like a poor man’s The Lord of the Rings and less like other notable achievements like The Life of Pi or Gravity.
But the hand writer-director Darren Aronofsky dealt him here is short on magic and long on melodrama. If the driving theme of Noah is Man against Creation, Aronofsky’s fell in to the trap of wallowing in it rather than exploring it.
It’s obvious a ton of well-intended work and talent was poured in to this effort. As many predicted once development was announced, though, this film just ended up in the hands of the wrong director.