I kept telling myself that Aronofsky was making a huge mistake with his latest film “Noah.” That it felt as if this talented director was wasting a lot of time and money in making this early-season blockbuster. And all throughout its construction and publicity, whether it was the first images released, trailers, etc…I was adamant that the film wasn’t exactly drawing me in or provoking enough intrigue in me to buy a ticket. But more importantly, it wasn’t proving that I was wrong. All this, and I still found myself having seen it in its opening weekend. Yes, I purchased a ticket and sat in a theatre to view this biblical epic, isn’t that funny? So I guess either the public relation team did its job or I just subconsciously believed that Aronofsky would pull it off. Sadly however, it seems that my original skepticism was well placed and I was right all along…

The biblical tale of Noah is one that has always fascinated me. As a child, the thought of living on a gigantic vessel carrying every animal in existence was something that stirred my imagination and broadened my humanity. And as I grew, it was as if the tale grew with me. I began to become more aware and paid closer attention to the moral conundrums and decisive humbleness bursting forth from this fable and its main character Noah. Of course, as I grew, the tale’s authenticity slowly succumbed to my increasing intelligence and eventually it’s genuineness dissipated all together. I mean, a tale like that you take with a grain of salt, as I do with every religious tale, and every religion for that matter.

It’s just, I’m not exactly devout to any religion. And I’m sure that won’t sit well with some readers, but I don’t encourage people to part ways with their beliefs simply because they’re different from mine, I just don’t share your point of view about the universe. Look, when creationism is laid out in front of you, much like it is in Aronofsky’s “Noah,” the hidden beauty of its philosophical magnitude really is something to marvel. That being said, its absurdity when placed opposite our universe and the rules that govern it: forces, evolution, dark matter and energy, elements, and so on, are just too much to overcome, but I digress…

Aronofsky’s “Noah” feels like two-hours and twenty-minutes of pretentiousness. I’ve seen documentaries about serial murderers, rapists, and pedophiles that don’t paint humanity as dark a shade as “Noah” does. So much so that I don’t understand why some Catholics are so upset and intent on dismissing and destroying this film. Aronofsky provides god’s wrath, nearsightedness, and the mysterious ways in which he works in spades. Granted, the entire film isn’t always shrouded in filth and inhumanity. Towards the end, we get some magnificent scenes featuring the beautiful sky spawned by the creator, lined with a massive rainbow shinning with resplendent colours and flying doves. Stunning right? Yeah, this scene takes place right after Noah’s about to murder his two newborn granddaughters before his sons have a chance to commit the act of incest, seeing as there are no human women left after the flood for them to reproduce.

Look, I’m not trying to take out Aronofsky’s knees. He’s an outstanding filmmaker that I respect and adore…he just could’ve picked a better project. The film’s technical aspects and visuals are radiant and masterful. There’s a scene in which Noah and his wife Naameh have an intense conversation against the bluish-red hue of the approaching Dawn where Aronofsky uses only their silhouettes to indicate interaction…pure brilliance. Conversely though, I felt that the battle scenes and cartoonish-villainy of Tubal-Cain could have been left on the cutting-room floor. They don’t add anything to the film’s depth and atmosphere. Additionally, the film really suffers from pacing issues and struggles with content portions and importance. That being said, at least the magnificent Clint Mansell, composer of the “Moon” and “Filth” soundtracks comes through with another remarkable score.

The cast, featuring Russell Crowe, Jennifer Connelly, Emma Watson, Ray Winstone, Anthony Hopkins, and Logan Lerman, was perhaps the only thing keeping me going while I waited for what was certainly going to be a misstep for the revered and immensely talented Aronofsky. Surprisingly however, this ensemble somehow managed to crumble under the film’s weak script, can you believe that?

Connelly and Watson stole the show for me, as much as they could anyway with what they were given. Crowe, who is an absolute tank in this film physically, gives it his all, but the character he is portraying has just too many flaws to overcome. As I mentioned earlier, Winstone really does create a strong villain, too bad it’s in the wrong film. Hopkins continues to appear briefly in movies, as he is just a shade of his former self, but hell, we all need a steady paycheque. Did I miss anyone? Oh yeah, Lerman is given a much broader role than his kin in the film, but can’t do much with it. Hey, at least he got to be mentored and obtained tons of advice from this cast of vets for a few months.

Unfortunately, “Noah” is your typical blockbuster in the most general sense. Yes, it makes you think slightly more than most big-budget films and provides some stunning visuals to go along with the never ending feeling of guilt you now bear once you leave the theatre. It’s a mistake, plain and simple, for Aronofsky, cast and crew, but I’m certain they’ll recover.