Exodus: Gods and Kings

Released:  December 12^th, 2014

Rated:  PG-13

Studio:  20^th Century Fox

Starring:  Christian Bale, Joel Edgerton, John Turturro, Aaron Paul, Ben Mendelsohn, Sigourney Weaver, Ben Kingsley

Directed by:  Ridley Scott

Written by:  Adam Cooper, Bill Collage, Jeffrey Caine, Steven Zaillian

Personal Bias Alert:  likes epics, kind of a Ridley Scott fan

5.5 of 10

            Twenty-two films into Ridley Scott’s career, I think we’ve largely sussed out his strengths and weaknesses.  He handles massive scales and eye-popping visuals with the best of them, but if you’re more interested in subtle character development and unexpected plot twists, then he’s probably not your man.  Sure, he’s made a few movies that break that mold, but Exodus:  Gods and Kings is not among them.  For better or for worse, it’s a Ridley Scott movie through and through, and undoubtedly it’s not his best work.

            I think I understand why Scott made another entry in the Moses leading the Israelites out of Egypt films.  There’s the obvious reasons, like it’s a tremendous story with a built-in audience that includes pretty much every member of the Abrahamic religions, but there’s several stories to choose from in that well (see this year’s Noah for another example).  No, I think it has more to do with the brotherly conflict that Scott chose to play up.  Remember, Ridley’s brother Tony killed himself two years ago, and I imagine that the loving but combative relationship between pseudo brothers Moses and Ramses would appeal to someone dealing with that kind of loss. 

            That the story takes place in a time when wonders like the pyramids were being built was just an added bonus.  Let’s face it, Scott seems to like making epics, and few societies can rival the scale that Egypt was operating in at the time.  After seeing his depiction of the Romans in Gladiator, it was hard not to get excited about what Scott would show us in Exodus.  Half-built pyramids with a massive labor force scrambling up their sides is awe-inspiring on the big screen, and then you get to see the ten plagues and the parting (and closing) of an entire sea.  Scott and his team knock all these visuals out of the park, making the spectacle factor the main reason people should go out and see this film in theaters.

            Unfortunately, that’s pretty much the only aspect of this film that exceeds average quality.  A bloated, two and a half hour runtime is sure to make everyone’s toes tap with boredom, especially during the long first act that spends a lot of time setting up very basic plot points.  It’s safe to assume that most people already know the nuts and bolts of this story, so you better be adding in some interesting flourishes to keep your audience sitting there that long, which Exodus resolutely fails to do.  To make it worse, this rendition is remarkably devoid feeling.  I mean, an entire slave force is freed in this movie, which should be an inspiring and emotional achievement.  Instead, the Israelites plod towards their homeland with the fatalistic energy most people bring on their trips to the dentist.  Even without taking into account the mood, the ending just doesn’t work.  It spends several minutes trailing off, I guess trying to wrap up arcs that were never really established in the first place, and then just fades to black.  It’s one of the worst endings I’ve seen all year.  It feels like someone in the editing room just shrugged and walked away because they were sick and tired of trying to pound this monstrosity into a story.

            The other unfortunate aspect of this film’s energy-sucking quality is that it takes all the performances down with it.  Granted, the characters aren’t particularly well-written in the first place, particularly the petulant Ramses and his barely present mother inexplicably played by Sigourney Weaver.  I can only speculate, but I’m guessing the role was edited down à la Eva Green’s Sibylla in Kingdom of Heaven, otherwise I have no clue why Weaver would sign on for a bit part.  Joel Edgerton lacks the power needed to pull off the god-king Ramses, but what really surprised me was how flat Christian Bale was as Moses.  This is the same guy who made velvet suits and a wicked comb over work in American Hustle, and here he’s floundering in a basic reluctant hero role.

            I know I’m bashing on the story pretty hard, but there was one aspect that I really appreciated.  The depiction of God and his relationship with Moses wasn’t clean.  This is the nasty God of the Old Testament, the kind that lets his chosen people live in slavery for 400 years and then gets huffy when he finally shows up and things don’t move along fast enough.  Moses calls him out on stuff like this, and even if the screenwriters don’t come up with very original responses, at least the questions are raised.

            All that being said, I can’t say I regret seeing Exodus:  Gods and Kings.  I wish it wasn’t so long, that the story was told with more verve, and the title wasn’t so clunky, but Ridley Scott’s so darn good at putting on a spectacle that you inevitably will get a thrill or two if you go see it on the big screen.  Just make it a matinee, preferably the cheapest ticket you can get.

Other Notes:

Ø  Is this movie setting itself up for a sequel?  They could call it Joshua:  We Finally Get There.

Ø  Moses’s privileged upbringing made him excellent at throwing rocks in a pot.

Ø  What’s up with all the horse killing?