Exodus: Gods and Kings From acclaimed director Ridley Scott (Gladiator, Prometheus) comes the epic adventure "Exodus: Gods and Kings," the story of one man‘s daring courage to take on the might of an empire. Using state of the art visual effects and 3D immersion, Scott brings new life to the story of the defiant leader Moses (Christian Bale) as he rises up against the Egyptian Pharaoh Ramses (Joel Edgerton), setting 600,000 slaves on a monumental journey of escape from Egypt and its terrifying cycle of deadly plagues. (c) Fox.
Detail For Exodus: Gods and Kings
142 min - Drama - 2014-12-12
Title : Exodus: Gods and Kings
Writers: 20th Century Fox, etc
Stars: Christian Bale, Ben Kingsley, Joel Edgerton, John Turturro, Sigourney Weaver
Director: 20th Century Fox
Rating : PG-13
Character : MosesRamses
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Review Movie Exodus: Gods and Kings
'Exodus: Gods and Kings' is spectacular.
This is the first portrayal of God I've ever encountered who looked like he could use a good spanking.
Crowd-wowing CGI spectacle and the inevitable if inconsequential 3-D effects make Exodus look like pure product, without any defining vision.
Exodus: Gods and Kings is as uneven as Ridley Scott's career; at times, it seems to be a journey through the director' ;s greatest strengths and weaknesses. The good news is that his strengths eventually win out .
The screenplay (credited to four screenwriters) is a mess, the pacing is uneven, the acting is inconsistent, and the experience as a whole is a letdown.
While the pale skin tones (bronzer is selectively applied) and haphazard mix of American and British accents is distracting, it barely scratches the surface of Exodus's ungainly artificiality.
A mish-mash - part half-committed melodrama, part half-thought-out political provocation.
"Exodus" is an exercise in visual trickery that reaches for nothing beyond the obvious.
Computer-generated imaging has advanced spectacularly over the decades, but moviegoers, and gamers, have been there every step of the way. Miracles aren't as impressive as they used to be.
An even better special effect would have been having a main cast that actually reflects the Mediterranean/North African desert environment.There are darker-skinned actors on the screen, though they just happen to be all slaves, servants and soldiers.
An utterly clueless, relentlessly grim and rambling action epic guaranteed to displease devout Jews, Christians and Muslims alike, amuse atheists - and generally bore everyone.
"Exodus: Gods and Kings" does a fair job of giving us what might be called The Second-Greatest Story Ever Told. What it never convinces us of is why.
"Exodus" is ludicrous only by accident, which isn't much fun and is the surest sign of what we might call a New Testament sensibility at work. But the movie isn't successfully serious, either.
This is spectacular entertainment, practically a theme park ride, that could have used more spirituality and soul.
Director Ridley Scott ticks the visual "epic" box with Exodus: Gods and Kings, but leaves emotion in the dust by trading spectacle for a compelling story.
Admirably cogent, even colloquial, Exodus plows through its stages efficiently, methodically and without much Old Testament passion.
"Exodus" turns out to be part of a time-honored tradition: the old-fashioned, super-spectacular Hollywood bomb.
It's underst andable that people were angry about the whitewashing of Egypt. But no aspiring actor of color should think of this as an opportunity missed so much as a bullet dodged.
Moses is imagined as if Scott met him on an awkward first date.
Scott is nothing if not a master orchestrator of chaos, and, both intentionally and otherwise, "Exodus: Gods and Kings" offers plenty of that.
Scott departs from Scripture enough to raise hackles. For example, this Moses sees God in the person of an insolent schoolboy (Isaac Andrews).
For all of the care and imagination that have been lavished on the production. the film's impact is best expressed by frequent aerial shots that are visually impressive and emotionally remote.
Momentous conversations periodically grind any retelling of the Moses story to a halt, but Scott keeps his head down, plows through and then gets out of the way while visual effects supervisor Peter Chiang and his slave army take it on home.
After a strong opening and a sagging middle, "Exodus: Gods and Kings" regains its stride and surpasses itself in the last third, when the God of Abraham unleashes a series of calamities on Egypt an d the royal household.
We have no idea. What's the point of a Moses movie without a message from the mountaintop? Scott has broken the second commandment of a Bible movie: Have something to say and someone majestic to say it.
"Exodus: Gods and Kings" has drawn fire for casting White actors in the major roles, but don't get too bogged down in that. Really, that's hardly the only reason to not like it.
Bland, overly long and otherwise forgettable.
The movie works well as big-budget spectacle despite a ho-hum script.
For an epic, there are, at best, only two clearly seen characters in Exodus.
A numbing and soulless spectacle of 3-D, computer-generated imagery run amok, Ridley Scott's "Exodus: Gods and Kings" presents an enduring tale by pummeling us over the head with it.
At least DeMille knew how to put on a show; the best this offers are a few bursts of Old Testament camp .
What this 3-D ex travaganza gets spectacularly right is in putting the epic back into the biblical epic.
Its grandiose set pieces feel empty and imitative (Scott pulled off this kind of thing much more successfully in "Gladiator"), and the whole picture feels glitzy and hollow at the core.
Ridley Scott can't decide if making rivers run with blood is heroic or horrific - you sense he'd rather make Gladiator II: Attack of the Frogs.
Before you're able to get too distracted by Exodus' flaws, Scott reaches back into his bag of pixie dust and whips up another grand illusion.
This eye-rollingly bad movie is silly, sluggish and miscast.
The ultimate takeaway is that if you can't finance a $140 million epic about ancient Egypt with racially appropriate actors, maybe you shouldn't make a $140 million epic about ancient Egypt.
No movie with such a limp ending can be fully satisfying, and the beginning also falters. But the long middle section is a rousing good show.
The result feels less like a straightforward retread of the biblical narrative than an amped-up commentary on it: This "Exodus" comes at you in a heady and violent onrush of incident .
You'll leave humming the plagues.
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