
Flicks, Dominic Corry
I've always believed that in cinema, ambition must be celebrated – outsized ambition, especially so. That stance is being challenged like never before with Darren Aronofsky's Noah. The filmmaker's previous works have all demonstrated affection for the more operatic modes of filmic storytelling, and that carried me through 2006's The Fountain, which counts as an interesting failure. After reigning things in a little with The Wrestler and Black Swan, Aronofsky is back in his gargantuan sand box for Noah, and unlike The Fountain, there's never any sense that his vision has been compromised.
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