Exodus: Gods and Kings (DVD)
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Epic adventure Exodus: Gods and Kings is 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 as he 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
JACQUI, South Africa. 7 April 2016
Thoroughly enjoyed this OTT epic.
Victor, South Africa. 14 January 2016
A numbing and soulless spectacle of 3-D, computer-generated imagery run amok, Ridley Scottâ€™s â€œExodus: Gods and Kingsâ€ presents an enduring tale by pummeling us over the head with it.
The story of Moses rising up against the Pharaoh Ramses and leading hundreds of thousands of Hebrew slaves out of Egypt to freedom is one with which weâ€™re all extremely familiar. Itâ€™s the entire point of Passover. Scott is not reinventing the wheel here. Rather, heâ€™s invented the biggest, shiniest, noisiest wheel imaginable, then he runs over us with it rather than inviting us along for the ride.
Certainly, thereâ€™s an allure to seeing this sort of old-fashioned, biblical epic on the big screenâ€“and indeed, within this proliferation of pixels, there is undeniable craft and heft to the massive set pieces and behemoth battles. From the costumes to the weaponry to the interiors, itâ€™s obvious that Scottâ€™s team took great care in considering and creating every detail. But the film as a whole (with a script credited to Adam Cooper & Bill Collage and Jeffrey Caine and Steven Zaillian) feels overstuffed and over-glossed. Self-serious to a fault, it packs in more and more in terms of story and extravagant visuals while offering too little in terms of actual character development and engaging drama.
When heâ€™s been at his absolute best in his lengthy career, directing films like â€œBlade Runnerâ€ and â€œAlienâ€ and even "Thelma & Louise," Scott has established himself as a visionary and a master of creating imagery that would go on to be iconic. â€œExodusâ€ feels oddly impersonal. Itâ€™s hard to tell what Scottâ€™s point is here, beyond making his Academy Award-winning â€œGladiatorâ€ look like an independent film by comparison. Earlier this year, â€œGladiatorâ€ star Russell Crowe played the title character in Darren Aronofskyâ€™s â€œNoah.â€ That was a biblical epic which also was massive in scope but at the same time beautiful and strange; it stayed true to its source material but found an intriguing and challenging tone. It actually evoked emotion.
In â€œExodus,â€ the plagues are fun, briefly, and thatâ€™s about it. At least, the prospect of the plagues presents the promise of fun: â€œEww, gross, a massive pile of frogs,â€ or: â€œAww, yeah, here come the locusts.â€ But like so much else in the film, these potentially thrilling sequences of havoc and terror evolve into enormous swarms digitally divorced from their effect on humanity. (The boils, thoughâ€“they remain. And theyâ€™re nasty.)
It certainly doesnâ€™t help that Christian Bale plays Moses in mostly stiff and detached fashion. (But hey, at least heâ€™s more intelligible here than he is as a grumbling and tormented Batman). Here, heâ€™s a quietly capable leader â€“a general among men, and in the eyes of the Pharaoh Seti (John Turturro), who raised Moses as his adopted son, clearly more capable to take over the kingdom than his own biological son, the preening and egotistical Ramses (Joel Edgerton). Despite the thick eyeliner, the shiny, bald pate and the radiant golden wardrobe, Edgerton is never quite flamboyant enough. He could have gone over the top with the role and helped breathe some life into this picture. He seems sadly uncomfortable.
Once itâ€™s revealed that Moses is actually, you know, Jewish, heâ€™s cast into exile, where he forges a pleasant, new life for himself as a sheepherder with a wife and a son. Meanwhile, over the past nine years, Ramses has assumed power and essentially turned Memphis into Las Vegas: overbuilt, overpopulated and so generally overwhelmed that slaves are being burned to death just to thin the place out. (It seems entirely possible that Scott does not get the irony of constructing something that is simply too big.)
Itâ€™s at this time that Moses starts seeing visions and receiving instructions as to his true purpose: to return to his homeland and free his people. God appears to him as an impish British schoolboy, which is a rather clever idea. In retrospect, Old Testament God does seem rather capricious and destructive in ways that remind me of my overtired 5-year-old son playing with his Legos after a long day at school. But that casting represents a rare moment of innovation in a film that may as well come with a checklist at the door. Even the parting of the Red Seaâ€“which should be a spectacular event generating legitimate excitementâ€“suggests the draining of a massive bathtub.
Ben Kingsley appears in a woefully small role as Nun, the elderly scholar who shares the news with Moses about his true heritage, yet he canâ€™t help but infuse his few moments with great dignity. As Joshua, who helps Moses lead the slaves out of Egypt, Aaron Paul is mostly relegated to sticking by Mosesâ€™ side, a huge waste of both his presence and his ordinarily inspired instincts. Sigourney Weaver gets even less to do as Ramsesâ€™ haughty mother, Tuya, while Hiam Abbass, as Mosesâ€™ mother, Bithia, has only a handful of lines of dialogue.
So why is this blockbuster different from all other blockbusters? Itâ€™s not. Thereâ€™s just more of it. And less.
Region 2 - Europe (except Russia, Ukraine, and Belarus), Middle East, Egypt, Japan, South Africa, Swaziland, Lesotho, Greenland, French Overseas departments and territories.