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Much of the film's creative energy is expended on the huge set of creation, with a magnificent if ludicrously mammoth reproduction of the Great Flood. Like most bible stories, the one told here is about a few people, the Noah clan, who are destined to meet a violent, unpleasant, even murderous end. The movie's wonderfully energetic use of visual effects and special effects, even computer graphics, are the most compelling and most enjoyable part of the movie, as they are throughout Aronofsky's career. Despite his dreamlike zeal, however, there's one great problem: it's still not really a movie.
Aronofsky has been making films for more than 30 years, and he's a big deal, a guy who has worked with Robert Redford, Clint Eastwood, Clint Eastwood, Steve Buscemi, Liam Neeson, Janeane Garofalo and the list goes on. He has directed a handful of feature films, as well as a handful of short films, a handful of music videos, a handful of documentaries, and a handful of commercials. All of these things add up to an exciting, world-class career, but he has no real filmography, not one movie that stands out, or at least not one that stands out among his five-decade body of work. Aronofsky's work runs the gamut from the disturbing to the exciting, the provocative to the lyrical, the avant garde to the commercial, the personal to the political, the hilarious to the tragic. It's all over the place, but some of it is very good. It's just not good enough.
Although he never received an Academy Award nomination for his work, John Ford was one of Hollywood's most accomplished filmmakers during the Golden Age. He's best remembered for his gorgeous and gothic Monument Valley, his three classic westerns (Stagecoach, The Searchers, and The Man Who Shot Liberty Valance), and the trilogy of World War II films he produced while at Warner Bros. The opening credits of these movies are quite magnificent, and they are also set to John Williams's most glorious scores.In his only try at directing a musical, Ford filmed a 1947 live-action/animation hybrid, a film that's difficult to describe, but that has the feel of a Beatles film, in that it's a film about moviemaking.Expanded essay by Geoffrey O'Brien (PDF, 592KB)
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