---
title: "Noah"
year: 2014
kind: "film"
canonical: "https://film.one/film/noah"
fi1m_id: "noah"
imdb_id: "tt1959490"
tmdb_id: 86834
wikidata_id: "Q286868"
fi1m_score: 58
critics_score: 60
critics_reviews: 27
published: "2026-09-27T09:04:39.152991+00:00"
updated: "2026-09-27T09:04:45.666939+00:00"
region: "CL"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Noah (2014)

Directed by Darren Aronofsky · 2h 18m · Drama, Adventure

## Identity

Noah

- **Canonical:** https://film.one/film/noah
- **Type:** Film
- **Fi1m ID:** noah
- **IMDb ID:** tt1959490
- **TMDB ID:** 86834
- **Wikidata ID:** Q286868
- **Same entity:** https://www.imdb.com/title/tt1959490/, https://www.themoviedb.org/movie/86834, https://www.wikidata.org/wiki/Q286868

**Fi1m score: 58** · Critics 60 from 27 reviews

*In a sentence:* Stone angels do the carpentry, God speaks only in dreams, and Russell Crowe glowers at the rain for two hours

> Darren Aronofsky’s flood is huge, strange and often magnificent to look at, and for stretches it is also solemn to the point of tedium. The creation sequence alone is worth ten minutes of anyone’s time; the boat trip is harder work.

## Synopsis

The world is a scorched grey plain and the descendants of Cain have stripped it of everything they can burn or sell. Noah (Russell Crowe) lives apart with his wife Naameh (Jennifer Connelly) and their sons Shem (Douglas Booth), Ham (Logan Lerman) and Japheth (Leo McHugh Carroll). A dream of drowning sends him across the wasteland to his grandfather Methuselah (Anthony Hopkins), on a mountain guarded by the Watchers, fallen angels encased in rock. On the way the family takes in a wounded girl, Ila (Emma Watson). Methuselah gives Noah a seed from Eden; a forest rises; and Noah begins building a timber box to hold two of every animal while Tubal-cain (Ray Winstone) and his army gather outside.

## Review

Darren Aronofsky, writing with Ari Handel, has taken the few pages of Genesis that cover the flood and made from them a 138-minute film about a man told to save the animals and let everyone else drown, who then does exactly that and does not enjoy it. That is the admirable thing about *Noah*: it treats the story as a horror, which is what it is. It is also, for long stretches, a slog. We came out impressed by perhaps forty minutes and worn down by the rest.

The best of those forty minutes is the creation. Noah tells his family how the world began, and Aronofsky and his editor Andrew Weisblum lay it out as a run of stills and time-lapse: a burst of light, a boiling sea, a fish that becomes a lizard that becomes an ape, each frame held a fraction of a second under Crowe’s flat, unhurried voice. It is the six days of scripture and several billion years of fossils in one breath, and the film makes no fuss about it. We sat forward, and stayed forward. Matthew Libatique shoots the pre-flood world as black soil under white sky, so that it looks like a place already dead.

Mark Friedberg’s ark is a barn the height of a hill, a rectangle of timber tarred black, with no prow and no keel, and the sight of it going up on a bare plain is the film’s second great image. Michael Wilkinson dresses everyone in felted wool and stitched hide, with nothing to pin the story to a century. Then there are the Watchers, fallen angels sealed in rock, lumbering about on too many limbs with light leaking from their eyes, voiced by Nick Nolte, Mark Margolis and Kevin Durand. We laughed when the first one walked into frame, and we do not think we were meant to. Twenty minutes later they were hauling logs and we had stopped noticing.

Russell Crowe carries it. He plays Noah as a heavy, quiet man who listens more than he speaks, and when the message turns out harsher than he expected he hardens rather than breaks, without a speech to mark the change. Jennifer Connelly’s Naameh is the one person who argues back, and the film needs her every time she does. Emma Watson gives Ila a steadiness that becomes the second half’s only warmth. Ray Winstone’s Tubal-cain bellows about a man’s right to take what he can, which is the script’s one counter-argument, and it is a good bellow. Anthony Hopkins turns up on a mountain, works a miracle and asks after berries.

The trouble is the boat. Once the doors close the film has one argument to have and it has it three times, with the rain going and Clint Mansell’s choir swelling under each round in case we had missed the stakes. Somewhere in the second hour we were bored, and then cross that a film this odd had managed it. One stretch cuts through, and we will not detail it beyond saying it concerns what the family hears through the timber once the doors are shut. It horrified us, and it is the only time the cost of the story lands without a line to explain it. The second half then takes a turn we will not describe, and handles it with more solemnity than sense.

Aronofsky has always made films about one person and one fixed idea: the number in [*Pi*](https://film.one/film/pi) (1998), the perfect performance in [*Black Swan*](https://film.one/film/black-swan) (2010). *Noah* is the same film with a studio budget and a story everyone knows the end of, and the obsession that was frightening in a small room becomes wearing on a barge.

If you see it, see it for the creation, for the ark rising on the plain, and for the minutes after the doors close. It runs 138 minutes and carries a 12 certificate, which given what happens outside the hull strikes us as generous. At home the Watchers look smaller and the arguments can be paused.

*Fi1m score 58, published 27 September 2026.*

## Straight answers

**Is Noah worth watching?**

*Noah* is worth watching only in parts, and we scored it 58. Darren Aronofsky's flood has a creation sequence, an ark rising on a bare plain and a horrifying few minutes after the doors close that repay anyone's attention, but the long argument aboard the boat is a slog. It suits patient viewers who want a strange, solemn take on the story rather than an adventure.

**How long is Noah, and what is it rated?**

*Noah* runs 2h 18m. It is a drama and adventure film.

**Where can I watch Noah in Chile?**

*Noah* is streaming on Netflix, Paramount+, Apple TV and Amazon Prime Video in Chile. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Noah, and is it suitable for children?**

*Noah* carries a UK 12 certificate, which we think generous given what happens outside the hull once the flood comes. The violence is mostly implied rather than shown, but the film treats the drowning of the world as a horror, and what the family hears through the timber is hard to sit through. Older teenagers will manage; younger children and the squeamish should skip it.

**How does Noah compare to The Fountain?**

*Noah* and [*The Fountain*](https://film.one/film/the-fountain) are both Darren Aronofsky films about one person and one fixed idea about eternity, the first on a studio budget and the second on a fraction of it. *The Fountain* is the more sincere and, at 96 minutes, the tighter of the two, though it is too short to earn everything it reaches for. *Noah* has the grander images and the longer stretches of tedium; choose it for spectacle, the earlier film for feeling.

**What should I watch after Noah?**

After *Noah*, try [*The Fountain*](https://film.one/film/the-fountain) (2006, Fi1m 66): Aronofsky chasing the same obsession with eternity, on a fraction of the money. Then [*The Tree of Life*](https://film.one/film/the-tree-of-life) (2011, Fi1m 84): Malick does the creation of the universe at feature length and means every frame; and [*Aguirre, the Wrath of God*](https://film.one/film/aguirre-the-wrath-of-god) (1972, Fi1m 91): One man, one river, one fixed idea, and Herzog watching it drown him.

### Reviews we read (27)

- **Empire**, Dan Jolin (4/5): Jolin calls the film an inventive, ambitious mythological epic, while noting that its harshness and revisions to the biblical story may infuriate as much as inspire. He especially praises Aronofsky’s striking creation sequence, which compresses billions of years of evolution into minutes. [Read](https://www.empireonline.com/movies/reviews/noah-review/)
- **Total Film**, Curtis Woloschuk (4/5): The critic calls the film an audacious, uncompromising epic and praises its ambitious execution. They single out the flood sequence for its impressive orchestration and the emotional force of Crowe’s performance. [Read](https://www.gamesradar.com/noah-review/)
- **Los Angeles Times**, Kenneth Turan (70/100, inferred): Turan finds the film grandiose and often overwrought, but says its cinematic energy makes it riveting. He praises Aronofsky’s bold, highly personal retelling of the biblical story and its willingness to blend the expected with the unexpected. [Read](https://www.latimes.com/entertainment/movies/la-xpm-2014-mar-27-la-et-mn-noah-review-20140328-story.html)
- **Sight and Sound**, Jonathan Romney (70/100, inferred): Romney finds the film flawed but substantial, praising its audacious, visionary ambition. He particularly admires Russell Crowe’s grounded portrayal, which gives the film’s strangeness a human center. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/film-week-noah)
- **The Hollywood Reporter**, Todd McCarthy (70/100, inferred): McCarthy finds the film arresting and audacious, though its environmental messaging can be heavy-handed and parts of its ending feel off-kilter. He especially praises Russell Crowe’s grounded performance and the film’s technical achievements. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/noah-film-review-689450/)
- **The New Yorker**, David Denby (70/100, inferred): Denby finds Noah wildly excessive and uneven, but ultimately a daring work of art. He especially praises its apocalyptic imagery and Icelandic landscapes, which make the end of the world visually magnificent. [Read](https://www.newyorker.com/magazine/2014/04/07/man-overboard)
- **Variety**, Scott Foundas (70/100, inferred): Foundas calls the film uneven but undeniably bold, finding it fascinating despite its competing ambitions. He praises its visually dazzling spectacle, especially the Watchers and the flood sequence. [Read](https://variety.com/2014/film/reviews/film-review-noah-1201130643/)
- **Vulture**, David Edelstein (70/100, inferred): Edelstein finds the film compromised by conventional studio spectacle, but ultimately likes it for grounding biblical apocalypse in contemporary concerns while retaining religious awe. He praises its vivid dreams and visions as the moments that best convey Aronofsky’s personal vision. [Read](https://www.vulture.com/2014/03/movie-review-noah.html)
- **Screen Daily**, Tim Grierson (64/100, inferred): The page identifies this as a review, but the critic’s verdict is inaccessible. No praise or complaint can be verified from the visible text. [Read](https://www.screendaily.com/noah/5069792.article)
- **Radio Times**, Terry Staunton (3/5): Staunton finds the film a bold but uneven biblical epic. He praises the grandeur of its effects, while noting stretches of existential navel-gazing. [Read](https://www.radiotimes.com/movie-guide/b-2r7hq5/noah/)
- **The Guardian**, Mark Kermode (60/100, inferred): Kermode finds the film preposterous and exasperating, yet ultimately endearing in its unhinged ambition. He singles out Jennifer Connelly for grounding the spectacle in credible human emotion. [Read](https://www.theguardian.com/film/2014/apr/06/noah-review-preposterous-epic-russell-crowe)
- **The New York Times**, A. O. Scott (60/100, inferred): Scott finds the film an unwieldy but ambitious biblical epic. He singles out Aronofsky’s visual imagination while noting that the film’s ideas do not always cohere. [Read](https://www.nytimes.com/2014/03/28/movies/russell-crowe-confronts-lifes-nasty-weather-in-noah.html)
- **IndieWire**, Eric Kohn (C): Kohn calls the film an epic misfire, despite its fascinating unease and ambition. He praises its striking visual sequences, while faulting the muddled plot and shallow treatment of its ideas. [Read](https://www.indiewire.com/criticism/culture/review-darren-aronofskys-noah-is-a-biblical-mess-but-thats-what-makes-it-worth-talking-about-28764/)
- **Slant Magazine**, Eric Henderson (2/4): Henderson finds the film’s ambitious scriptural interpretation compelling at first, but says it ultimately retreats into conventionality. He praises its vivid, sacred-and-profane imagery, especially the creation montage. [Read](https://www.slantmagazine.com/film/noah/)
- **Little White Lies**, Paul Fairclough (1/2/2): Fairclough finds the film dour, emotionally barren and ultimately boring, despite its spectacular moments. He praises the flood sequence’s depiction of people facing death, but says it cannot rescue the film’s missed opportunity. [Read](https://lwlies.com/reviews/noah)
- **Time Out**, Keith Uhlich (2/5): The review gives the film a low rating. Its description singles out Russell Crowe’s overly serious performance. [Read](https://www.timeout.com/movies/noah)
- **Evening Standard**, David Sexton (35/100, inferred): Sexton finds the film an unconvincing action epic, despite Aronofsky’s effort to make it accessible to believers and non-believers alike. He singles out Russell Crowe’s commanding presence for praise, saying it holds the film together and makes Noah’s moral dilemma feel genuine. [Read](https://www.standard.co.uk/culture/film/noah-film-review-darren-aronofsky-takes-liberties-but-at-least-theres-a-lot-of-russell-crowe-being-manly-9237503.html)
- **The Independent**, Laurence Phelan (30/100, inferred): Phelan finds the film underwhelming and frequently silly, with an implausible, low-stakes world. He praises Russell Crowe’s brooding performance and the domestic conflict that emerges later. [Read](https://www.independent.co.uk/arts-entertainment/films/reviews/noah-film-review-darren-aronofsky-s-biblical-blockbuster-won-t-turn-the-tide-9236020.html)
- **The Skinny**, jamie@theskinny.co.uk (★★★★): The review finds the adaptation fascinating, praising its religious ambiguity and ecological commentary. It also singles out Aronofsky’s stylised visuals and provocative treatment of faith and humanity. [Read](https://www.theskinny.co.uk/film/new-releases/noah)
- **/Film**, Peter Sciretta (8 out of 10): Sciretta finds the film a powerful, imaginative, and ambitious reimagining, while noting its challenging structure may not work for everyone. He especially praises the visually told Genesis sequence for blending biblical text with scientific ideas. [Read](https://www.slashfilm.com/530976/noah-review/)
- **Digital Spy**, Ben Rawson-Jones (4): The review finds Noah psychologically gripping and visually stunning despite some structural and cohesion problems. It especially praises the emotionally powerful family drama between Crowe and Connelly. [Read](https://www.digitalspy.com/movies/a561111/noah-review-is-russell-crowes-biblical-epic-movie-gold/)
- **Collider**, Matt Goldberg (B-): Goldberg finds Noah a flawed but intriguing work whose moral complexity is often buried under awkward explanations and uneven storytelling. He praises Matthew Libatique’s cinematography and Clint Mansell’s score, along with the film’s environmental and ethical ideas. [Read](https://collider.com/noah-review/)
- **Den of Geek**, Don Kaye (3.5/5): Kaye finds the film unique, entertaining, and at times profoundly moving, despite flaws in its execution. He singles out Russell Crowe’s complex performance and praises the striking visual and musical design. [Read](https://www.denofgeek.com/movies/noah-review/)
- **The Playlist** (64/100, inferred): The page is blocked by anti-crawler protection, so the critic’s verdict is unavailable. The text provides no details about what the review praises or criticizes. [Read](https://theplaylist.net/review-darren-aronofskys-noah-starring-russell-crowe-emma-watson-jennifer-connelly-more-20140327/)
- **HeyUGuys**, Stefan Pape (3/5): Pape finds the film overelaborate and convoluted, despite admiring its ambition and scope. He praises the striking storybook-like interludes, while faulting Russell Crowe’s emotionally detached performance. [Read](https://www.heyuguys.com/noah-review/)
- **The Wrap** (30/100, inferred): The critic finds the film overblown, underwritten, and a soggy slog caught between a conventional biblical epic and Aronofsky’s stranger style. They praise the flood as impressive, but fault the characters for being too thinly drawn to give the actors room to develop them. [Read](https://www.thewrap.com/noah-review-darren-aronofskys-biblical-waterworld-mostly-runs-aground/)
- **Eye for Film**, Anne-Katrin Titze (10/100, inferred): The critic finds the film painfully bland and heavy-handed. She singles out the end-credits song as its most intriguing element. [Read](https://www.eyeforfilm.co.uk/review/noah-2014-film-review-by-anne-katrin-titze)

## Details

- **Director:** Darren Aronofsky
- **Director:** Darren Aronofsky
- **Writer:** Ari Handel, Darren Aronofsky
- **Cinematography:** Matthew Libatique
- **Editor:** Andrew Weisblum
- **Music:** Clint Mansell
- **Production design:** Mark Friedberg
- **Costume design:** Michael Wilkinson
- **Producer:** Scott Franklin, Darren Aronofsky, Mary Parent
- **Cast:** Russell Crowe as Noah; Jennifer Connelly as Naameh; Ray Winstone as Tubal-cain; Anthony Hopkins as Methuselah; Emma Watson as Ila; Logan Lerman as Ham; Douglas Booth as Shem; Nick Nolte as Samyaza (voice)
- **Runtime:** 2h 18m
- **First release (Hong Kong):** 7 March 2014
- **Genres:** Drama, Adventure
- **Budget:** $125 million
- **Box office:** $363 million
- **Trailer:** https://www.youtube.com/watch?v=fdu10cX3pWA

## Where to watch in Chile

- Netflix: streaming
- Paramount+: streaming, hd
- Apple TV: add-on, hd
- Amazon Prime Video: add-on

*Checked 2026-09-27.*

Also available in: AE, AR, AT, AU, AZ, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IS, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, SK, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country.

## If you liked this

- *The Fountain* (2006), Fi1m 66: Aronofsky chasing the same obsession with eternity, on a fraction of the money — [Fi1m page](https://film.one/film/the-fountain.md)
- *The Tree of Life* (2011), Fi1m 84: Malick does the creation of the universe at feature length and means every frame — [Fi1m page](https://film.one/film/the-tree-of-life.md)
- *The Last Temptation of Christ* (1988): Scorsese takes scripture as seriously as Aronofsky and argues with it harder
- *Aguirre, the Wrath of God* (1972), Fi1m 91: One man, one river, one fixed idea, and Herzog watching it drown him — [Fi1m page](https://film.one/film/aguirre-the-wrath-of-god.md)
- *Andrei Rublev* (1966), Fi1m 86: Tarkovsky’s medieval Russia: faith, mud and a bell being cast, at patient length — [Fi1m page](https://film.one/film/andrei-rublev.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/noah