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Ridley Scott’s “Exodus: Gods and Kings” pummels us over the head with its cynical and soulless sight of 3-D, computer-generated graphics run amok.
We are all quite familiar with the narrative of Moses rebelling against Pharaoh Ramses and leading hundreds of thousands of Hebrew slaves out of Egypt to freedom. It is the whole purpose of Passover. Here, Scott is not inventing anything new. Instead of inviting us along for the trip, he has instead created the biggest, shiniest, and noisiest wheel imaginable and then runs over us with it.
There is undoubtedly a draw to watching this type of traditional biblical epic on a large screen, and despite the abundance of pixels, the vast set pieces and titanic battles have an unmistakable workmanship and gravity. It is clear that Scott’s team gave careful thought to and created each and every element, from the interiors to the armaments and clothing. However, the entire movie (with a script written by Jeffrey Caine, Steven Zaillian, and Adam Cooper & Bill Collage) feels bloated and overproduced. It is excessively self-serious and jam-packs plot and lavish visuals while providing too little in the way of real character growth and compelling drama.
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When he has been at his very best over his long career, Scott has established himself as a visionary and a master of developing imagery that would go on to become iconic, directing movies like “Blade Runner,” “Alien,” and even “Thelma & Louise.” Exodus has an oddly impersonal feeling. Beyond making his Academy Award-winning “Gladiator” seem like an independent picture in comparison, it’s unclear what Scott’s goal is with this. Russell Crowe, who starred in “Gladiator,” took up the role of the titular character in Darren Aronofsky’s “Noah” earlier this year. That was a biblical epic that was enormous in scope, beautiful, and odd all at once; it maintained true to its source material while finding an intriguing and difficult tone. It actually stirred up feelings.
Exodus Gods And Kings Quiz
The plagues in “Exodus” are amusing for a little period of time. “Eww, yuck, a huge mound of frogs,” or “Aww, yep, here come the locusts,” are at least amusing predictions of the coming plagues. These potentially spectacular scenes of mayhem and dread eventually transform into gigantic swarms that are digitally separated from their impact on mankind, much like so much else in the movie. (The boils, however, still exist. They’re also nasty.)
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The fact that Christian Bale portrays Moses mostly in a stiff and aloof manner doesn’t help. (But hey, he’s at least more understandable here than he is as a grouchy, tortured Batman.) The Pharaoh Seti (John Turturro), who raised Moses as his adopted son, sees him as a quietly capable leader who is plainly more qualified to take over the empire than his own biological son, the haughty and arrogant Ramses (Joel Edgerton). Edgerton is never quite showy enough, despite the heavy eyeliner, the gleaming, bald head, and the brilliant golden attire. He had the opportunity to overact in the part and add some life to the composition. He appears to be painfully uneasy.
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Moses is exiled after it is discovered that he is, in fact, Jewish. There, he creates a happy, new life for himself as a sheepherder with a wife and a son. Ramses came to power nine years ago and, in that time, effectively transformed Memphis into Las Vegas, a city that is so densely crowded, overbuilt, and generally overburdened that slaves are being burned to death in order to clear away the population. (It’s conceivable that Scott is unaware of the irony in building something that is simply too large.)
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At this point, Moses begins to get visions and receive guidance regarding his true mission: to go back to his native land and set his people free. It’s a wonderful idea, God appears to him as a naive British schoolboy. In hindsight, the God of the Old Testament does appear to be pretty arbitrary and destructive, reminding me of my overtired 5-year-old kid playing with his Legos after a long day at school. But in a movie that otherwise might as well have a check list at the door, that casting constitutes a rare instance of creativity. Even the Red Sea separating, which ought to be a stunning occurrence inspiring genuine enthusiasm, conjures up images of a big bathtub being drained.
Ben Kingsley plays Nun, the ancient scholar who informs Moses of his true ancestry, in a pitifully little role, yet he can’t help but give his brief appearances a sense of immense grandeur. Aaron Paul primarily plays Joshua, who assists Moses in leading the slaves out of Egypt. This is a horrible waste of both Aaron Paul’s presence and his typically great instincts. While Hiam Abbass, who plays Moses’ mother, Bithia, has very few lines of conversation, Sigourney Weaver receives even less screen time as the aristocratic mother of Ramses, Tuya.
Why then does this blockbuster stand out from all others? It isn’t. It’s simply more of it. Less also
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