Noah (2014): Part Two of a Two-Part Commentary

Noah (2014): Part Two of a Two-Part Commentary April 11, 2014

[This is Part 2 of Looking Closer’s Noah review. Part One was posted yesterday.]

Here’s another story.

Once upon a time, two total strangers — one a mother and a teacher with a background in business; the other a writer, editor, and film critic — became friends after she invited him to join an online discussion of his book about film. They were both Christians. And they met at an arts-and-faith gathering called Hutchmoot in Nashville. They both agreed that they wanted to work together on something someday.

She saw Noah in Charlotte. He saw Noah in Seattle.

(For the record: They both paid for their movie tickets the way most moviegoers do. They were not paid by the studio, or by any church, or by anybody at all, to share their opinion of the film.)

(Also for the record: When they emerged from the theaters, their faith remained intact. So did their love for movies.)

They decided to discuss the film online, and then publish the results.

And so…

Here is my conversation with Julie Silander. Julie is a dear friend and a film enthusiast . She’s a contributor to Story Warren and blogs at her personal site Greener Trees. She’s been a huge encouragement to me here at Looking Closer, and I’m grateful.

I anticipated that we might have very different opinions of Noah. We live in different parts of the country, attend different churches, and have very different lives.

So, what happened?

Here is our conversation.


So, I’ve just seen Noah, and my head is spinning. No, not like the girl in The Exorcist. I’m just a little dizzy.

Like most films by Darren Aronofsky, Noah is very intense, and it gives you so much to think about. I’m accustomed to being challenged by foreign films and independent films, but big-budget, studio-backed American movies? Rarely. This was quite a surprise.

So, how did it go for you? Did you fall asleep?


It was hard to walk into the movie and see it for what it was. There was so much chatter flying around about the movie that it was a challenge to see the movie for itself.


You’re talking about all of the fuss in Christian media? Yeah, it’s hard to put all of that out of your mind when so many people seem so afraid of the movie, so certain that it’s going to be a threat to moviegoers’ faith.


I have a 14-year-old son, and a 12-year-old coming up right behind him. So I’m “pushed” to think about not only my response to the movie, but also about how I process the responses of people who hold opinions that differ from mine. I’m acutely aware that my posture in reaction to others may be just as important as — if not more important than — what I have to say about the movie itself.

As my son and I discuss the movie (or the song or the book) of the day, I try to have him read the opinions of folks who have varying perspectives. Then we discuss the frameworks from which they are operating. I want him to be able to think through an issue on his own. My son may disagree with another’s point of view or with my own, which is fine. But I hope that he can disagree while maintaining a posture of humility and respect. So… I’m hyper-aware of my reaction and response. You could say that having a thoughtful teenager in the house keeps me honest.

My great hope is to raise children who can think critically — but without having critical spirits.


To be discerning, but not judgmental… right? Your children are blessed to have a mother who cares about critical thinking.

So tell me, what about Noah did you admire most? And did you dislike anything?


Noah was a beautiful film to watch.  The retelling of the creation story, the legions of animals flocking toward the ark, and even the heart-wrenching devastation of the flood left indelible vivid images in my mind. As a result, I left the theater with a deeper connection to a story I had heard for decades.

The movie was masterful in communicating the sinfulness of all mankind. Regardless of religious upbringing and theological position, we all have an awareness that things aren’t as they should be. But Noah didn’t end there. Despair was ultimately met with life and hope. In that way, I’d say that it was one of the more evangelical movies that I’ve seen in a long time.

I’m not sure what I would say I wanted more of. This is a nit, but one of the most moving scenes in Genesis occurs when God shuts the door to the ark — not Noah. That could have been a powerful scene.


Wow. I totally agree. I wonder why Aronofsky and Handel left that out.


God was virtually silent in the film. That was bothersome early in the film, yet seemed to resonate with me toward the end.

There have undoubtedly been periods in my own life when God’s voice seemed impossible to hear. I know intellectually that He is always present, but it doesn’t always feel like it. Maybe the absence of his voice is less of a commentary about God, but more of an exploration of what Noah could have been feeling during such a dark, chaotic time. Noah seemed to illuminate the innate yearning we all have (Noah, Tubal-Cain, and me) to know our Creator.

Why do you think God is portrayed as so distant and silent?

“I’m acutely aware that my posture

in reaction to others may be just as important as

— if not more important than —

what I have to say about a movie…”


I suspect that God’s apparent “silence” was a storyteller’s decision, meant to make Noah a more accessible character.

But if I think about it, it makes sense to me. If I don’t hear God speak from the heavens with a voice like James Earl Jones, does that mean God isn’t speaking? The Bible says that God spoke the world into being; so, in a sense, creation itself is a “text” that God wrote. All created things are words that he spoke. Due to sin’s corrupting influence, we have trouble “hearing” what those words are telling us. So that makes it easy for me to assume that God is not silent in Aronofsky’s story. Rather, God is speaking through images, through visions, and through the created world. That’s how Aronofsky’s Noah “hears” God’s voice. It’s a still, small voice for those who have ears to hear.

And since God’s greatest word was the Incarnation — Christ himself — then that inclines me to believe that God’s best “speech” is incarnational… something more like a work of art than a telegram or a voice mail.

As for the question, “Who shut the door of the Ark?” Well, in the movie, Noah does. But moments earlier, Noah is knocked into the sea and he barely survives. He barely makes it back onto the ark. Perhaps I’m reaching too far here, but in one sense, it’s by the grace of God that Noah is able to close the door of the Ark. So… who shut the door? Isn’t Noah acting as the hand of God, insofar as he is being obedient?

Okay, now I’m way off on a tangent.

I want to get back to your general assessment of the movie, Julie. I agree with you, for the most part.  I have mixed feelings about the movie — as I do with most of Aronofsky’s films. But there is so much here that is wonderful and strange that my problems with the film are not much more than quibbles.

Genesis is a strange storybook. There are so many bizarre details, and so many seemingly essential details left out. I was fascinated with how Aronofsky chose to illustrate all of that mystery, and how he filled in the gaps.

I loved the sequences about creation, Adam and Eve, the serpent, and the garden. They were surreal, impressionistic, abstract, provocative, and beautifully rendered.

I quickly came to care about Noah and his family. Noah’s care for the earth seemed just right, because if he was a man who obeyed God then he would have understood the importance of God’s command to “subdue and replenish the earth” … to care for creation like a good master. I think the film would have been even better if we’d spent more time with this family outside of crisis situations, just being together and letting their personalities shine.

Reflecting on the film over the past week, I’ve been surprised to find one movie coming to mind over and over again. I think Noah is Darren Aronofsky’s Take Shelter. I suspect that he saw and admired that film by Jeff Nichols, because Crowe’s version of Noah here bears a strong similarity to Curtis, Michael Shannon’s troubled character. Curtis was a husband and father who had visions, who thought the world was going to end, and who went to upsetting extremes to prepare a refuge for his family. I think Nichols’ film is the stronger of the two, but as my friend Elijah Davidson pointed out, they’d make a great double feature.

My biggest gripes about Noah are related to pacing and music.

The film is long, but it should have been longer. I wanted to see more of the ark on the water. I wanted to have a more powerful sense of the presence of the animals on the ark. I kept forgetting that they were there. And I wanted to sense more curiosity about what it was like to be on the ark for so much time — forty days and nights!

Instead, the second half of the film relies too heavily on rather simplistic suspense-related subplot related to Ray Winstone’s character, Tubal-cain. When the suspense finally breaks, and Noah clashes with Tubal-cain, the resolution seemed anti-climactic.

Clint Mansell’s music feels too heavy-handed. His score keeps shouting “Important! Profound! Drama!” [Note: I’ve corrected my first-draft mistake, crediting the Gravity soundtrack to Mansell.]

I was also a bit distracted by the casting of Logan Lerman as Ham. In this film, Ham is jealous of his brother Shem because Shem has a girlfriend… played by Emma Watson. Did anybody else spend the whole movie feeling sorry for Logan because, just like in The Perks of Being a Wallflower, he’s left pining for Emma Watson? I suspect that there are countless young men of the Harry Potter generation who see Emma Watson as the World’s Most Ideal and Unreachable Woman. Why must this guy keep playing their onscreen representative?

This is fun — actually talking with you about the movie. Seems like the rest of the Internet is just talking about whether or not viewers should be offended.


I walked in with a bit of a defensive posture about the movie. I saw too many folks who hadn’t seen it yet were offering strong, conclusive opinions that left no room for another point of view. It’s always easier to criticize than it is to create. If only folks could put all of their critical energy into creating something new. If only we could try to learn from art rather than seeking to dissect it or rule over it.

I love Makoto Fujimura’s comment about “standing under a work of art rather than standing over it.” So — what would it look like to “stand under” this movie and try to learn, be stirred, see more Truth by seeing through the lens of another?

But at the heart of such a discussion is the foundational understanding of what does or does not constitute art. Some believe that movies should be an expressive form of art. They enter the movie-going experience with a sense of curiosity and wonder. Others think that movies should serve as an illustration to the original text, so they would measure the viewing experience by a different set of standards. For those who fall in the second, more literal camp, I could certainly understand how a movie like Noah could be disturbing to watch.


Wow, I haven’t heard it put quite that way. I like that.

Some people might feel threatened by that. They might think that “standing under” a work of art sounds like making yourself vulnerable. It might sound you’re asking us to kneel before a false god. But that’s not what you’re saying, is it? It sounds to me like you’re saying we should be humble, patient, and respectful, rather than acting as judge and jury. I think there’s a lot of wisdom in that.

A lot of what I’ve read from other Christians about Noah looks to me a lot like vandalism. They’re not looking closely at Aronofsky’s decisions. They’re not talking about the characters’ choices, or why Aronofsky brought the Watchers into the narrative, or about what traditions of Noah storytelling he’s drawing from. They’re just reacting because the movie seems unfamiliar. It doesn’t feel like the version they learned in Sunday School. So they’re labeling and condemning the people involved and the people who are interested in the film. That kind of culture-warrior poster, that kind of verbal vandalism… it’s like picketing and heckling a restaurant while people inside are actually enjoying a nutritious meal.


I was a bit confused by the positions of those who were so against the movie, most of whom haven’t seen it. If I understand their arguments correctly, then I’m not sure how they let their children watch Veggie Tales. I’m certainly not saying that my position is the correct one. There are most likely several “right” positions. But it saddens me when people, Christians in particular, are arrogant and disrespectful toward those who see things from a different perspective. We are all made in the image of God. We all have something to learn from one another.


Others have pointed out that The Passion of the Christ and The Nativity Story and The Ten Commandments — films that these protesters have never complained about — also contain things that aren’t in the Bible. That’s called “being creative.” It’s called “adaptation.” Even our Bibles contain some of this, because translators had to find creative ways to pass stories along using different vocabularies.

I’m not threatened by adaptation and imagination. But I am interested to see if the film preserves the central themes of the Biblical text. Does this movie honor the Bible story, or is it disrespectful?

What did you think of this movie’s “translation” of Noah himself, as Darren Aronofsky and Russell Crowe bring him to life in the movie?


I thought this portrayal of Noah was convincing. I appreciated his humanity, his struggle, his complexity. I most identified with the reality of wanting to do what is right, appealing to God, and then launching forward in human strength (rather than waiting on Him, and rather than listening to the wisdom and insight of others).


Yes! Russell Crowe’s Noah is like any real man in that his strengths are also his weaknesses. He’s strong-willed, resolute, and eager to do the right thing. But zeal like his can so easily become stubbornness, bone-headedness, and a destructive kind of single-mindedness.

In that sense, Noah reminded me of some pastors and church leaders and cultural critics I’ve known.

And, to some extent, he reminded me of me when I stop listening to God and think that I’ve got everything figured out.


He was righteous. He was obedient. He had good intentions. But as the story unfolded, those very attributes, when not under God’s direction, caused tremendous relational damage — and almost irreversible destruction.

I’ve certainly seen that dynamic in my own life. My greatest strengths, when not under God’s control, have the most potential for causing damage and destruction. Dorothy Sayers said, “The better intentions, the more strongly does the will associate itself with them, and the more disastrous the results.” Perhaps there is commonality between Noah, those who zealously protest the movie, and those who have been quick to defend it.

“Dorothy Sayers said, ‘The better intentions,

the more strongly does the will associate itself with them,

and the more disastrous the results.

Perhaps there is commonality between Noah,

those who zealously protest the movie,

and those who have been quick to defend it.”


Ouch. I feel a bit of a sting in that. I need to carry that quote around with me for a while.

I appreciated Aronofsky’s willingness to support what the Bible tells us about Noah and so many other “heroes of the faith.” He showed us the admirable qualities and the failures. Noah was a messed-up guy who fumbled his way toward some righteousness and then stumbled into sin. That’s vividly portrayed here. But he never becomes a monster. You can see the logic and the conscience at work, even in his error. I don’t agree with him, but I feel compassion for him.

Did you find yourself emotionally engaged or moved by the film?


The movie raises important questions about the nature of justice.  To explore such a significant concept by engaging not only the mind, but also through the use of image and sound, deepened my attachment to the story.

To hear the cries of the people outside the ark, to see them climbing atop one another on the last bit of land jutting out of the water, and hear the whole earth go hauntingly silent when there was no one left to struggle, was incredibly powerful.

When Noah made the subtle shift from being hopeful for a new world and his family’s place in it to a sense of hopelessness for the human race, he was able to see clearly, and articulate with specificity, the sin present in each of his children’s lives (as well as his wife’s and his own). There was no exception. All fall short. Even the righteous. When Noah recounts the history of man and his evil ways, the rapid series of shadowy images of war throughout the ages is haunting. Noah’s story bleeds into ours.

The film succeeded in painting a very dark picture of the human condition (deserving justice) — against which the shining miracle of grace can be seen ever more brightly.

“The film succeeded in painting a very dark picture

of the human condition — deserving justice —  

against which the shining miracle of grace

can be seen ever more brightly.”


Okay, here’s a big one: How do you feel about the characters that some have sarcastically labeled “The Rock Monsters”?


The Watchers? Well, this is a tricky one.

When they first appeared, they felt gimmicky and out of place — like when my children arranged their legos or Star Wars actions figures (or Transformers) in the manger scene over the mantle at Christmas. I was a bit put off and distracted.

But surprisingly, they became a non-event. Their help in building the ark and protecting Noah’s family seemed to keep the story moving in a strangely plausible way. They too, were receiving Justice for stepping outside their place in the created order. Yet somehow, they embodied hope. Their light (who they were created to be) was trapped temporarily in a faulty, clumsy vessel on earth. They were separated from the Creator. They longed to return to their created state. Yet that wasn’t the end of their story, either.

The Watchers reminded me that we are not left alone in our struggle. Help (and hope) can come from the most unlikely places.


Again, we agree! (What’s wrong with us?)

I’m a fantasy author, and a big fan of fantasy films, so I loved “the Watchers.” I loved the way they moved. I loved the idea that these fallen angels would regret their disobedience and fumble around miserably, longing for the glory they once knew. The puppetry and animation that brought them to life was intriguing. And I eventually came to accept their role in the story.

Ultimately, though, I found them a bit too simplistic and cartoonish to fit into this dark and complicated human world, much the way I thought the Ents in Peter Jackson’s Lord of the Rings movies never quite seemed to exist in the same world as the Hobbits. And the resolution of their story was a little bit too sudden and simplistic. I liked them, but I wanted to love them.

Still, I’ve only seen the film once so far. I’ll be interested to see how it feels during a second and third visit. Two of my favorite critics, Steven Greydanus and Peter Chattaway, have already seen the film several times, and they keep finding more about that’s interesting. Whenever a film rewards multiple viewings, well… that’s a good sign that it’s actually more than mere entertainment. It just might be a lasting work of art.


I was surprised by how much of the film stood on Biblical ground. It was beautiful. And the main objections that I had heard — and braced myself for — seemed irrelevant. I was stirred in so many ways.

Most of all, I was reminded that the more we see our fallenness for what it is, the more we can begin to get a glimpse of the inconceivable grace that has been lavished upon us. For me, it was a movie full of hope and promise.

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22 responses to “Noah (2014): Part Two of a Two-Part Commentary”

  1. I am glad Noah stars a few Jewish actors (Jennifer Connelly, whose mother is Jewish, and Logan Lerman, who is just Jewish).

  2. Excellent discussion and a great two-set of articles! I felt the most striking part of “Noah” was how little Noah really knew about God and how much he, as you say “fumbled into righteousness.” When I revisited the Bible after the film(how many films can cause that immediate reaction?), it seemed that Aronofsky must have been thinking about Noah’s place in Biblical history. Noah is before any of the prophets, before the patriarchs, before any covenant(until the rainbow that is). Just as the film depicts, all Noah knows of God is the creation story and his own genealogy. Put in that context, Noah’s struggles with God’s will and his own over-zealous interpretations are not only understandable, they seem inevitable.

  3. I’d like to somewhat defend the offended, though without being offensive myself, I hope. I went to the movie prepared for its liberties; nevertheless, I was struck by a few profound negatives as I watched.
    Early in the film, Noah chides his son for picking flower; “It belongs where it’s growing,” or something along those lines. To me, this goes way beyond “responsible stewardship” to a kind of hardcore veganism: is it really a sin to pick a flower? I was reminded of the girl in “Notting Hill” who was a “fruitarian,” and would only eat things that had already fallen off trees; but what was a punchline in that movie was here stated as the ironclad Will of the Creator. It just seemed really extreme and silly. And to put it bluntly, it seemed like… well… typical Hollywood liberalism. I say that only to convey how some Christians might feel the Biblical story was being hijacked by other concerns. Surely nowhere in Scripture is God offended by a child picking a flower.
    Soon after that, we see another grave sin: hunting animals for food. Despite Noah’s seemingly pious rebuke of meat-eaters (“They think it makes them strong; but strength comes from the Creator”), the fact is that in the Bible, God himself GIVES THE ANIMALS TO NOAH FOR FOOD. So in this case, not only does is the movie un-Biblical, it’s arguably anti-Biblical, presenting as a sin what really was God’s will in Genesis.
    Along those same lines, Tubal Caine’s rationalization of his rapacious ways (“The Creator made Man in His image, to subdue the earth”) is, of course, the very word spoken by God himself in the Bible. It’s really creepy to have God’s dialogue put into the mouth of a homicidal tyrant, and further evidence that something other than a thoughtful engagement with the Bible is at work.
    Of course, I can’t read Aronofsky’s, or anyone else’s, mind. I don’t know why he made these choices, or why many Christian critics don’t seem to mind them. But to me — and maybe to others — repeatedly stressing Man’s “evil” by showing him doing what God either never condemns or explicitly condones in the Bible is more than a little unsettling. It really does seem like the film is going against the basic Biblical story to tell a version that’s opposed to it. So I can completely understand why many Christians would indeed rail against the film, and would be baffled by the placid acceptance of it by their fellow believers.

    • Thanks for very civil response, Warner. I appreciate it so much when people can voice their differences without becoming hostile.

      Regarding your first point: The flower scene. I agree with you that this scene is kind of lame. But I do get what Aronofsky’s trying to show us. I don’t recall that the scene describes flower-picking as a “sin,” but that Noah is trying to instill in his son a sense of responsibility and resourcefulness… relating not only to big things but small things as well. I’d rather err on the side of care than on the side of recklessness and arrogance.

      As for hunting animals for food, you’re right… God gives the animals to Noah for food… but only after the flood. As Steven Greydanus has noted:

      “In keeping with Genesis, Noah and his family do not hunt or eat animals. Prior to the flood, mankind (and animals) had permission from God to eat plants and fruit, but permission to eat animals was given to human beings only after the flood. (Extrapolating from this principle, the film depicts the wicked sons of Cain, who break God’s law in so many other ways, hunting and eating animals when God has not permitted this.)”

      When Tubal-cain says “The Creator made Man in His image, to subdue the earth” … note that he doesn’t complete the quotation. If we just “subdue” without “replenishing” it, we end up… well… in the kind of mess that we’re in. Isn’t that the very thing that Satan does when tempting Jesus? He quotes the words of Scripture, but he quotes them incompletely, in a way that tempts Jesus to abuse his God-given power.

      Again, Mr. Greydanus:

      “While environmental themes can be heavy-handed, they don’t replace or negate the moral themes of sin and rebellion against God. They are also broadly consistent with the biblical principle “In the beginning, God entrusted the earth and its resources to the common stewardship of mankind to take care of them” (Catechism of the Catholic Church, 2402).”

      I highly recommend this essay by Rev. Fr. David G. Subu, if you’re interested in reading further:

      • Thank you for your civil response to my civil response! (Not that I expected otherwise.) I will definitely read the essay you provide; I’m curious to see others’ opinions on this. I may respond further after the Holiday, if you’re interested. Thanks again. I enjoy the site.

  4. Thanks for this! Excellent conversation, touching on many interesting points about this fascinating, disturbing (in a good way) film. This quote sums up the themes of the film nicely: “The film succeeded in painting a very dark picture of the human condition — deserving justice — against which the shining miracle of grace can be seen ever more brightly.” Also, I loved the comparison with Take Shelter; I love that film and had not thought of that comparison, but it is an excellent one.

  5. a thought… it seems that the issue with how exact this retelling is to the original biblical passage is not unlike the issue some have with imagining the six days of creation could be anything other than a literal six 24 hour days. I’m not making any claims as to which view is more or less right, but I detect a somewhat “fundamentalist” tone from some of the film’s detractors. (Fundamentalist in a very broad sense – including many kinds of Christians, and perhaps others.) If I am right, then that kind of spirit seeks to quickly shut down, and shut down hard, opposing views. And if so, then the arguments are not so much about the film as they are about fundamentalists and non-fundamentalists staking out their territories.

    another thought… it seems that God created us to learn by comparison. (I know this is a very basic idea.) We take two things and compare them, and often it’s about taking in what is new and different and comparing it to what we already know, or think we know. This process helps us both understand better what we already know, and increase our learning by engaging with what we didn’t yet know. We can do this formally or informally, but we are always doing it. And others can help us do this as well. At a very fundamental level we can’t really turn off our brains from doing it; it’s how we travel through the world. However, we can choose, sometimes wisely and sometimes foolishly, to refuse to engage with certain things. In the case of NOAH we have an excellent opportunity to take in and compare the film with the biblical account, other films, various sources, etc. This is not a film to fear, but many appear to be acting as though it is, saying in effect “there is no value in comparing this film to anything” and thus shortchanging themselves in doing some great comparisons, even coming to know the Bible that much better.

  6. This is an awesome dialogue. Part 1 was great too. But one thing: I just saw the movie yesterday, and I think God DID close the door to the ark. Noah closes it first, then there’s a lot of action and chaos and he ends up outside again, and when he finally stumbles back inside, doesn’t the door close behind him and he does a double-take, along with the rest of the occupants of the ark? Am I totally imagining this?

    • I will watch for that next time I see it. Maybe I just missed it. Thanks!

      • Don’s right. Noah’s in and out of the door a couple of times when the flood starts, trying to fight off the gate-crashers. But when the water sweeps the last of them away and he comes back inside, the door shuts behind him all by itself.

    • I’m glad to hear that – I must have missed it. That’s always been such a significant part of the story for me – God’s assurance to Noah and his family that He was ultimately in control in the midst of what must have felt like total chaos. Thanks so much!

  7. Nice dialogue – appreciate your open hearts. Quick correction – Steven Price (not Clint Mansell) did the music for “Gravity.” Won an Oscar for it, too.

    • Good heavens. You’re right. How embarrassing. Thanks for the correction!

  8. Great discussion, thanks for sharing it. For me the biggest flaw in the film was that it didn’t really do anything interesting with Tubal-Cain on board the ark. Which was a pity, because that’s a plot twist which could have made for really good drama.

    However, as a musician, I have to point this out. Clint Mansell did not score GRAVITY. Steven Price composed that score, which is easily one of my all time least favorite film scores. Clint Mansell, I think, is one of the best young film composers alive today; even though NOAH’s score does have a few cliched moments which make it one of Mansell’s weakest, I still liked most of it. Also, Mansell’s score for NOAH is much more intense and heavy handed than his other scores (STOKER, BLACK SWAN), but for the most part, I thought the Rite of Spring-like aggression worked well with a young world that is turning to sin and brutality. His loud, pummeling passages also have discernible harmonies and melodies, which is more than I can say for the repeated blaring of the same dissonant harmonies over and over and over again in GRAVITY.

    • About the soundtrack, you’re absolutely right, and I am embarrassingly wrong. Thanks for catching that. I think there were moments that reminded me so much of the Price soundtrack for Gravity that I just jumped to a conclusion and thought it was the right one. Ugh.

    • Mansell’s score for “The Fountain” is one of my favorite film scores ever. It’s. So. Good.

      • I actually haven’t seen THE FOUNTAIN – it’s an omission I hope to correct soon. But Mansell’s work for STOKER was my favorite film score of 2013, and his music in BLACK SWAN is pretty much the only thing I like about that film.

    • Evan – I agree with you. I would like to have seen more done with Tubal-Cain – both in the story line and with his character. Good point.

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