The defiant leader Moses rises up against the Egyptian Pharaoh Ramses, setting 600,000 slaves on a monumental journey of escape from Egypt and its terrifying cycle of deadly plagues.
This should be affecting stuff, but it’s consistently undercut by the massively naff aesthetic.
Exodus: Gods And Kings doesn’t short change us as far as the crowd scenes, storms, battles, chases and recreation of ancient Egypt in all its pomp are concerned. The problem here is that this a strangely cautious affair whose own attitude toward its central character is never quite clear.
Scott operates on a suitably Biblical scale and grounds the spectacle with rock-solid turns from Bale and Edgerton. Just don’t expect God to play nice…
As spectacular and surprising as you would expect from Scott. Its spiritual uncertainty – and lack of triumphalism – perhaps robs it of a truly satisfying, cathartic conclusion, but also makes for a truly modern, thoughtful biblical blockbuster.
Though a misguided blockbuster in many ways, Exodus is a breezy enough epic to warrant a look for fans of what the wildly inconsistent Scott is sporadically best at these days.
It's a story that has been told and retold for thousands of years, but this po-faced, dutifully spectacular retelling barely lingers in the memory beyond the end credits.
Scott’s uber-slick attempt to ground his own biblical epic eventually comes across as po-faced.
Exodus: Gods And Kings is the story of Moses made in Ridley Scott’s image: in other words, it’s basically Gladiator, with a lot more eyeliner. Both feature epic scenes of ancient derring-do, an ailing dad with a sociopath for a son, and demands that we root for a terse, brawny military hero.
Fundamentalists and armchair casting directors will have no difficulty finding things with which to take issue. But timeless aspects of sibling rivalry, racial enmity and being at the mercy of God or fate or the elements resonate powerfully, and there’s no question that this is meaty, masterfully crafted and decidedly entertaining.
More interesting for offering information on how these movies are produced and funded.
Exodus: Gods And Kings doesn’t short change us as far as the crowd scenes, storms, battles, chases and recreation of ancient Egypt in all its pomp are concerned. The problem here is that this a strangely cautious affair whose own attitude toward its central character is never clear.
Accusations of racism over the casting of this blockbuster are the least of its many epic problems. But at least the plagues are good.
It may be the season of goodwill but there is little of that in Exodus: Gods And Kings, Ridley Scott's epic about Moses.
Man versus myth: does it matter if the Moses story is based on fact?
General release. Check local listings for show times.
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