Noah is a young boy, standing on a hill with his father Lamech. Lamech is about to give him the serpent’s skin of the original serpent in Eden, which has been passed down for generations. Suddenly, a large crowd approaches, led by a young king named Tubal-Cain, who wants to make that hill into a mine. Seeing Lamech, Tubal-Cain kills him and takes the serpent’s skin, while Noah runs.
Many years pass. Noah is living with his wife Naameh and his three sons, Shem, Ham, and Japheth, when he sees a small miracle: a drop of water hits the ground and a flower grows instantly. That night he has a dream where he sees the mountain his grandfather Methuselah lives on, and water covering the earth. He realizes that the Creator is trying to send him a message. He and his family run to visit Methuselah. On the way, they find a group of recently killed humans, and among them, a girl who is still alive, named Ila, and they adopt her. Also, Tubal-Cain’s men chase them, but they are afraid to enter the dark region that is inhabited by Watchers, fallen angels who look like stone golems.
It is recounted that the Watchers are friends with Methuselah because he saved them once. They came to earth to help the humans, but after learning from them, the humans tried to enslave and kill them. They tried to run, and Methuselah helped their escape by fighting the waves of human soldiers with a burning sword.
Noah speaks with Methuselah and receives a seed passed down from the Garden of Eden. He plants the seed on a plain, and an entire forest grows upon it within seconds. This miracle convinces the Watchers that Noah is chosen by the creator. Noah announces that all the wood will be used to build an Ark, and they start to help with the construction work.
Roughly eight years pass. As the Ark nears completion, animals start to leave the forests and walk into the ark, where they are put to sleep by incense that Noah prepares. Meanwhile, the surrounding lands have been running short on food, and the humans, led by Tubal-Cain, are beginning to eat human flesh. A horde of about 200 men, led by Tubal-Cain, approaches the Ark, and Tubal-Cain threatens to storm it, but the Watchers force him to turn back.
Noah realizes that his three sons need wives, and that Ila cannot serve because she is barren. He disguises himself and goes into the human camp in order to find three women, and take them into the ark. At the human camp, he sees humans being slaughtered for food, and some people behaving badly, and intense crowding and filth. He is stunned by this and gives up the effort, and becomes convinced that the Creator wishes for the entire human race to come to an end. Back at the camp, Methuselah blesses Ila and her barrenness is cured.
Shortly before the rains start to drop, Ham decides to go to the camp himself and find a woman. He falls into a pit filled with the dead and encounters a frightened young girl named Na’el. She is willing to go with him, but as they run back to the ark, her foot gets caught in an animal trap. Noah comes to help but sees the human horde coming to raid the ark, so he forces Ham to leave her behind and save himself. Seconds later, the human horde reaches her and tramples her to death as it passes. All of Noah’s family gets in except Methuselah, who chooses to die in the flood. As the ark gets launched, all the Watchers sacrifice themselves fighting the endless human waves. This allows them to return to their original forms and return to their Creator, who has forgiven them. As the flood waters rush toward the ark and his remaining soldiers drown, a wounded Tubal-Cain seizes the opportunity to survive and crawls up a pathway to a high point of the ark, hacking his way inside the vessel where he is eventually found by Ham. The wicked old king plays on Ham’s anger toward Noah for allowing Na’el to die. Outside, the family listens to the dying screams of those outside the ark. His family implores him to let some of them in, as they “have room,” only for a shell-shocked Noah to reply that there is no room for them.
Ila wakes up, feeling ill, and goes to Naameh who deduces that she is with child. At this exact moment, the rains stop completely. Ila says it is because the Creator smiles upon the unborn child. Naameh, Shem, and Ila inform Noah of this, but the patriarch rationalizes that the Creator’s wish to destroy humanity also extends to his own family, who he initially thought would simply die of old age once the flood waters recede. He tells the family that if the child is a boy then he will replace their youngest as the last man, but if a girl is born, he will kill the child upon her birth, much to Ila’s horror. Not truly willing to do such a thing so much as feeling it is a duty to the Creator, a tearful Noah climbs to the top of the ark and asks for the Creator’s counsel. Finding no answer, Noah resolves to do as he told his family. Meanwhile, Tubal-Cain finds aid from the naive Ham (eventually acquiring the boy’s help in a plot to kill Noah) and Naameh makes one final, unsuccessful attempt to dissuade her husband.
Many months pass. Ila, now hugely pregnant, and Shem build a small raft to escape Noah’s plot to kill their child. Noah burns the raft. The shock of this causes Ila to go into labor. With Naameh’s assistance, the terrified young girl gives birth to twin girls. Hearing the babe’s cries, Noah pursues Ila to the top of the vessel. As Ila sings to the crying infants to pacify them before they die, Noah looks upon the girls and decides to let them live.
Tubal-Cain has seemingly manipulated Ham into believing the king is killing Noah for the sake of Ila and Shem’s offspring as well as vengeance for Na’el, and Ham lures Noah to the tail end of the ark on the pretense that the animals have awoken and have begun cannibalizing each other. As Noah and Tubal-Cain engage in a brutal fight, the ark hits a mountain and Tubal-Cain is thrown through the shattered wall of the vessel, being greatly injured. As the king rises and attempts to finish a similarly injured Noah off, a repentant Ham stabs Tubal-Cain in the ribcage, killing him.
As the rest of the family begins making a new life for themselves, Ham decides it is time for him to leave, still angry at Noah for what happened to Na’el. Ila confronts Noah on allowing his grandchildren to survive, telling him that the Creator gave him the choice of whether mankind should be saved or not. When she asks why he didn’t kill them, Noah reveals he had nothing but love for the babies when he first saw them, because he saw the goodness of mankind. Later, the family stands atop a cliff face and Noah blesses them all as the beginning of a new human race. They watch as the Creator sends a rainbow from the sky, covering all of the Earth, signaling his promise to never destroy mankind again.
In Travis’ Humble Opinion:
In attempting to review this week’s episode of the Walking Dead, I’ve had a hard time not making it about all the things that are and have been frustrating me about the entire series. Maybe it’s because this week’s episode was a good example of a bunch of them or maybe it’s just that some of the issues the show is having are making it harder for me to enjoy it. Either way, big sigh, here we go.
Right out of the gate we get a completely irrelevant flashback about character Bob Stookey, about whom we know little at this point, other than he was/is an alcoholic and he has some medical training maybe. So here we go with the writers (and I feel inclined to blame Robert Kirkman primarily because I don’t like him) beating us over the head with this “new found” focus on character development. So what does this little flashback tell us about old Bob? Ummmm…that he wants to be around people because wandering around by yourself sucks? That he’s not afraid to die? I don’t even know really. Then, following the pattern set up for this season, or this half of this season, or whatever it is, the focus is on a couple of smaller groups, in this case some Maggie/Sasha/Bob and some more Daryl /Beth, as if we didn’t get a full dose of that pair last week. Although, I can see why they added the Bethryl (did I just do that?) interludes as the material for the other mini-group is pretty poor.
So stuff happens, conversations are had, characterization happens for some of the people we didn’t know that much about, and at the end of the day, down the road we go again with no end in sight, save some vague place called Terminus that we know even less about than Bob Stookey at the end of this episode, which isn’t much. My opinion? The tease on this place has been way too long already and there’s no way it will live up to this kind of buildup. This is what drives me insane about this show. There is no forward momentum whatsoever, no narrative drive. I mean, I realize they’ve been out there a long time and survival is key, but shouldn’t they at least be attempting to see if there is any salvation to their predicament? Maybe try to at least leave the state of Georgia or the tri-county area at large? Could be the zombie pandemic ends as you head north when you stop seeing Stuckeys, Rick and company will never know because they never leave the 20 mile area around where they’re from. As Sean is fond of pointing out, perhaps T-Dogg’s “let’s head for the coast” idea is starting to look a little more appealing.
So we’ll see what happens next week. Looks like we’re getting a big ol’ dose of Tyrese and Carol, i.e. another week of running in place. I pretty much feel like I could tune out for the next couple of weeks and come back for the season finale and won’t have missed much. In fact, maybe that’s the strategy for the Walking Dead. Watch the first and last episode of each half of each season and just skip all the filler.
In Sean’s Humble Opinion:
The Walking Dead’s pace lately has been snail-like at best. Extending this season to 16 episodes is probably one of the worst things the show could have done. We’ve had far too many “walk around / sit around looking glum” episodes and not enough “defend the prison, fight for your life, run from the walkers, exciting” episodes. I will say that the shining light was Rick hiding while intruders came into the house he was staying in, that at least sparked some excitement and suspense. Other than that the sluggish pace can be blamed on the fact that the creators/show runners want to focus on characterization…fine with me, but surely there are ways you can do this and be more exciting than Ben Stein calling attendance, “Bueller, Bueller, Bueller…” Here are my biggest issues with the most recent episode Alone.
- Okay, I know I said “this episode” but I have to get this off my chest. When you watch The Walking Dead lately, are you like me in that you think you’ve accidently turned on the Outdoor Network? I mean I understand the survivors want stay away from populated cities where there’s lots of walkers, but seriously these characters spend more time in the woods than Jeremiah Johnson.
- Characterization: The opening flashback of Bob walking alone. Okay, if it was to help us learn more about him, about the only thing I learned was that…he got used to walking alone. Oh and he’s an alcoholic, sorta. I mean all it really shows is him sipping on some cough medicine right? And haven’t we already established he’s a drunk? He openly admitted it to Daryl at the beginning part of the season. If you want to develop characters through the flashback concept, then take a cue from Lost and show what these characters were like BEFORE all this happened. I mean honestly, Glenn, a character that’s been with us since the beginning, all we know about him is that he used be a pizza boy? Oh and don’t treat the past like a big mystery. The whole, “What did Daryl do before the apocalypse” was somewhat entertaining, but why not treat the viewer to a flashback of what his life was really like. Instead of him telling the story about him, Merle and the tweaker, show it! Doing this will help the viewer’s connect more with the characters and be a welcomed change of pace.
- The Fog scene – Pretty cool – But really? 4 seasons that span what…3 to 4 years and you just now came up with it?
- Daryl and Beth coming up on a graveyard was pretty ironic I thought. Though I was little confused when Daryl says, “We’ll just take some” then in a shot later in the episode it looks like they pretty much took everything…screw whoever lives here!
- Maggie, Bob, and Sasha’s camp. Seriously? How close do you want to let Walkers get? The trip wires with hub caps tied on were close enough a walker could pretty much reach out and grab one of them from it? Even if you heard the hub caps clang together, you’d have about what 5 seconds at most?
- Why is there any argument whatsoever about going to Terminus? Sasha doesn’t wanna go because she wants to “survive” and they should stop at the first town they come to. Hey, why not travel to a town that says…”Those who arrive, survive” seems like you’ll be accomplishing your survival goal if you head that-a-way that right? It was a pathetic excuse to have this group break up and then have a big emotional reunion at the end. I can still see Maggie walking up and smiling ear to ear so happy to see Bob again. Hey, you could have solved all this by…not leaving in the first friggin place! You can’t have a great joyous reunion with people who voluntarily left one another!
- Our perceptions of these people are based solely on assumptions or stereotypes we subscribe to. I keep reading about how these characters have changed so much, but what evidence do we really have to base that on? Glenn was a pizza boy; we’re assuming he’s changed because we have assumptions of what a pizza boy’s life would be like. Okay, yeah they’ve changed since we first met them, but the show could take this so much further. We assume Rick is this natural leader with morals of the highest regard, but think back to when the series began and he was talking about the issues he was having with Lorrie. Maybe he had an affair that sparked all that, maybe he was a drunk before it all happened too. There’s just so much you could do with the flash back idea that would create a little momentum in the show and not this ho-hum, “let’s get to Terminus and have it not live up the hype that we’ve created for it whatsoever” vibe.
In My Humble Opinion: Jack Ryan: Shadow Recruit is a ridiculous departure from the Jack Ryan character we’ve become familiar with. If you’re unfamiliar with the character Jack Ryan, he is a character featured in Tom Clancy’s novels as well as their big screen adaptations. If you haven’t seen the films surely you’ve at least heard of: The Hunt for Red October, Patriot Games, Clear and Present Danger, and The Sum of All Fears. Now since I haven’t read the novels I will be referring to the movies because those are what I’m what familiar with. Ryan is a CIA analyst (though I believe he’s retired in Patriot Games) who finds himself thrust into dangerous situations where he’s forced to operate outside of his comfort zone in order to save the day. He’s kind of an everyday man dealing with situations he’s not used to and is generally unprepared for. To me, that’s what always made him a little bit more relatable and realistic knowing he was in over his head; that was always the appeal of his character. This all led me to ask the question after seeing trailers for Jack Ryan: Shadow Recruit, “Why?”
Jack Ryan: Shadow Recruit breaks formula and features Ryan as a CIA field agent who must travel to Moscow to prevent an imminent terrorist attack. If you’ve seen the trailers perhaps you agree that the premise looks more James Bond / Jason Bourne than Jack Ryan. It’s just too much of a departure in my opinion. I remember with all the other movies that preceded Shadow Recruit there was a running gag in which Ryan had to remind anyone and everyone around him that he was just an analyst. Alec Baldwin (my favorite Jack Ryan) put it best in The Hunt for Red October when he said, “I’m not field personal, I’m just an analyst. I’m not an agent, I just write books for the CIA.”
So back to my question of why? Why reboot a character that still has plenty of source material to pull from? There are still five other Tom Clancy novels featuring Jack Ryan that haven’t been made into feature films. Why not adapt those and stay true to the character? Why not just start fresh with a brand new character instead of trying to cash in on the name Jack Ryan? I mean if Hollywood really wants to bring a literary figure into the action film genre why not tap into the character Mitch Rapp? Mitch Rapp is a character featured in the novels written by Vince Flynn (awesome spy name by itself right?) that IS a spec ops, black bag, CIA spy type that travels the globe preventing terrorist attacks, keeping America safe, etc. Personally, I think he’d be the perfect character to be brought to the big screen. Sorry for the rant, just doesn’t make sense to me.
THIS POST IS DEDICATED TO TOM CLANCY AND VINCE FLYNN
TOM CLANCY PASSED AWAY ON OCTOBER 1, 2013 FROM UNDISCLOSED ILLNESSES. HE WAS 66 AT THE TIME.
VINCE FLYNN PASSED AWAY JUNE 9, 2013 AFTER A THREE YEAR BATTLE WITH PROSTATE CANCER. HE WAS 47 AT THE TIME.
In My Humble Opinion: Sherlock is an incredible show that deserves more notoriety. Martin Freeman (Dr. John Watson) and Benedict Cumberbatch (Sherlock Holmes) each turn in remarkable performances that make the masterfully written show all that much better. Season 2 ended with a cliffhanger! Watson witnessed his best friend Holmes leap to his own death in order to protect those closest to him (a plot line involving the infamous Moriarty, who eventually took his own life as well) Of course, the viewers were let in on the secret that Holmes had in fact faked his own death but were left wondering why and how he pulled it off. Now, like the cab driver from the first episode, I give you a choice; you can wait for the Sherlock premiere on January 19 for the answers to these questions or you can read below. CAUTION SPOILERS BELOW!
Two years after his reported demise, Sherlock Holmes (Benedict Cumberbatch) has been completely exonerated of the slander he endured at the hands of James Moriarty. The opening scene shows a version of how Sherlock might have faked his death. Sherlock jumps from the roof with a bungee cable, bouncing back and entering the building through a window, where Molly stood waiting for him. While Sherlock escaped, members of his homeless network put a mask on Moriarty’s face so that he would look like Sherlock and dragged him onto the street to the spot where Sherlock would have landed and sprayed him with fake blood. While all this was happening, Watson was lying on the ground, having just been run over by a cyclist, who was in on the plan in order to give the others time to plant the body. This however is all shown to be a conspiracy theory of Anderson. Sherlock, with the aid of Mycroft, returns to London which is under threat of a terrorist attack. Watson has moved on and has a girlfriend, Mary Morstan (Amanda Abbington), whom he intends to propose to in a restaurant. Sherlock of course enters the restaurant disguised as a French waiter with a thick accent. Sherlock visits John’s table a couple of times before Watson figures out that it is in fact Holmes. Sherlock reveals that he faked his own death. John fueled by anger, hits Sherlock more than a few times. Sherlock enlists Molly to assist him in the case of an underground skeleton behind a desk containing a manuscript: “How I did it” by Jack the Ripper, revealed to be a fake planted by Anderson (now a conspiracy theorist, driven by guilt over his role in Sherlock’s defamation) to lure Holmes out of hiding. Later that day, Mary receives a text telling her that John has been kidnapped by unknown assailants and will die if he isn’t rescued in time. Sherlock and Mary come to Watson’s aid and are able to rescue him.
John and Sherlock then return to solving Mycroft’s terrorist problem, which is revealed to be planned by an “underground movement” in the most literal sense (i.e. a movement based in the London Underground). They discover that a key figure in the plot is a politician named Moran, who with his organization plots to blow up the Houses of Parliament during an all night sitting on the Fifth of November (Bonfire Night). Near an abandoned underground station, they find a carriage that was earlier seen disappearing with Moran on it. The carriage is now rigged with explosives. Sherlock manages to defuse the bomb by turning the off-switch, but not before making Watson believe the bomb can’t be defused, causing him to panic and reveal to Sherlock how much he has missed him.
In a flash forward, Sherlock is seen visiting Anderson and reveals to him how he faked his death as part of a plan to round-up Moriarty’s network. Sherlock tells Anderson that he and Mycroft had anticipated thirteen possible scenarios that could happen on the roof. Each possibility had a code name and a plan of action attached to it. Sherlock however, did not anticipate that Moriarty would kill himself. Sherlock texted his brother one of the code names (“LAZARUS”). His homeless network shut down the entire street and were at the ready. When John arrived, Sherlock made sure he stood at the right spot so that his view of the bottom half of the building was blocked. The homeless network and Mycroft’s people set up a large inflated cushion which Sherlock fell on safely. All the people rushed to pull the cushion away and Sherlock ran to hide. Molly, who was near a window, threw a body double on the ground (the same person Moriarty used to frame Sherlock for the abduction of Rufus Bruhl’s children). John, who had rushed to the scene, only saw a glimpse of the body before he was intentionally knocked down by the cyclist. This allowed Sherlock to take the place of the body double and complete the charade. Sherlock even put a ball under his armpit to momentarily give the impression he had no pulse for good measure. The people who surrounded him then poured blood around and on him to complete the illusion.
In the final scene, a silhouetted figure with blue eyes wearing glasses is seen watching footage of Sherlock and Mary.
In My Humble Opinion: It’s not tragic to die doing what you love, but it is tragic that Hollywood seems so fresh out of ideas that it has to yet again recycle a movie that has already been made. Not sure if you’ve heard yet but the word around the campfire is Point Break will receive its very own Hollywood remake and Gerard Butler will be surfing in to take over the role of bank robbing / Zen surfer dude Bodhi, a role previously filled by Patrick Swayze. If you check out IMDB, the remake is confirmed and slated for a 2015 release. As is my typical practice, let me be completely up front; I have nothing against Gerard Butler or the original Point Break itself.
As far as Gerard Butler goes, I think he’s a pretty decent actor that can certainly portray the ultimate bad ass when it comes to action films (300 anybody? Oh and he was brutal in Olympus Has Fallen). In fact, when the rumor was circulating that he could be stepping in to take over as Snake Plissken in a planned Escape From New York remake, I found myself cautiously optimistic (the cautious part was more because of the remake itself not the casting). Low and behold this was not meant to be and rumors continue to circulate on who will eventually fill the role once filled by Kurt Russell (personally, Josh Holloway seems like a no-brainer).
As far as Point Break goes, let’s be honest; the original 1991 film directed by Kathryn Bigelow isn’t exactly Oscar material but still a pretty entertaining movie nonetheless. Patrick Swayze embraced the role he was given and received acclaim for his portrayal of Bodhi. And let’s be honest, any movie in which you can have Keanu Reeves pretending to be a dim-witted surfer dude is obviously playing to the actor’s strengths. That being said, how many more remakes is Hollywood going to subject us to? I think that’s probably my biggest apprehension when it comes to the remake genre itself. There’s been so many remakes that don’t hold a candle to the original (there is the occasional success) it’s almost insulting that Hollywood keeps churning them out. I’ve always said that you don’t have to literally remake the movie; just take the plot and change the environment and abracadabra you’ve got yourself a new movie. I mean after all, didn’t Hollywood “remake” this once already but instead of using surfboards it used cars and called it Fast and the Furious?