Second impressions: Noah (dir. Darren Aronofsky, 2014)

The first time I saw Darren Aronofsky’s Noah, I took six pages of notes, and I watched it with the memory of an early draft of the screenplay lingering in my brain. So I was distracted on at least two levels: by a need to jot down as many quotes and facts as I could, and by an awareness of how the script had evolved. Never mind people who obsess over how the film may or may not have deviated from Genesis; I kept thinking of how the film was deviating from that early script!

Needless to say, I don’t normally take that kind of background knowledge to the theatre when I go to see a movie, and I knew it wouldn’t be fair to Noah to hold that knowledge against it either. I also knew I needed to just sit back and watch the movie like a proper movie, to bask in the drama and let it unfold.

And so, on Wednesday morning, I saw the film a second time. And I can think of no better way to sum up the difference between my two viewings of the film than to say that I didn’t cry at all the first time I saw Noah, but I shed tears on a few separate occasions the second time I saw it. It’s a powerful, powerful film.

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Noah gets mixed to positive reactions in Mexico City

The long, long wait is over, for some.

Nearly two years after Paramount Pictures announced that it was going to make the film, Darren Aronofsky’s Noah had its world premiere in Mexico City last night, and both audience members and the handful of critic-bloggers who attended the screening (at least some of whom were flown down there at Paramount’s expense) have responded to the film.

A few new interviews with Aronofsky have also popped up online. You can check those out, along with the first Twitter comments (full reviews are apparently embargoed until closer to the film’s North American release date), after the jump.

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