Nutshell: I’d give Exodus: Gods and Kings a C-. Barely passing as an epic, and though there are some interesting moments when the 21st Century tries to science-splain ancient Egypt, it never once stirred my interest past the FX. Who’s your Moses now? Who cares.
I really wanted to love this movie. Because c’mon, who doesn’t love the cheesy goodness of Yul “WHO’S YOUR MOSES NOW?” Brynner in The Ten Commandments? And I’m not even gonna touch the bombast of Charlton Heston’s Moses. It’s grand, over-the-top, and a must-watch for me every Spring.
Unfortunately, Exodus doesn’t live up to the hype of it’s cinematic forefathers. At times it’s a breathtaking visual treat but it’s much like another Spring favorite of mine, the chocolate bunny. It’s pretty enough, and maybe even a bit impressive, but once you sink your teeth into it all you’ve got is a crumbling facade and a hollow that’s damn disappointing.
Y’all know the basics; Moses was an adopted son of Pharaoh. But when rumors of how he was really brought into this world (think reed basket, Jewish binkie and a desperate-for-a-kid Egyptian princess), Moses decides to embrace his heritage, starting with freeing Jewish slaves. All of them. Cue the Exodus!
Director Ridley Scott plays a little fast-n-loose with the basics of the tale;
- A Jewish blanket is swapped for a bracelet with his Hebrew name on it. (Or something like that, as it was tough to understand that scene with all the quick mumbling.)
- The Plagues are re-fashioned into scientifically plausible occurrences. (Or something like that, as it was tough to believe how the first one started. Fun to watch, but tough to believe.)
- He sees the “Burning Bush” after getting literally stuck in the mud from a fierce rainstorm.
- “God” is a kid that serves him tea and verbally spars with him. Nobody else can see the kid, so everyone thinks Moses must be
tripping ballsschizophrenicimagining things.












