Review of Exodus: Gods and Kings (2014) by Dave M — 10 Aug 2015

It's never an easy thing for a filmmaker to translate a famous, well-loved book (or even part of one) into a movie. The transition inevitably requires leaving things out, adding other things and presenting visual images that may or may not match the images in the imagination of the books' readers. Some moviegoers will be thrilled with the changes and others will be offended. Never is the task more challenging than when the book being filmed is (at least part of) the Bible. On the other hand, this is the kind of movie that makes things easier for the reviewer. When writing a summary of a movie like "Exodus: Gods and Kings" (PG-13, 2:30), at least you're thousands of years removed from having to worry about spoilers.

Director Ridley Scott liberally applies modern sensibilities - and state-of-the-art movie-making magic - to his version of the story of Moses and the journey of the ancient Hebrews leaving slavery in Egypt. Scott's Moses (Christian Bale) is pragmatic but compassionate, skeptical and stubborn but driven and not so much devoted to God as he is determined to do what is right. This Moses doesn't have the stage presence of, say, Charlton Heston in Cecil B. DeMille's 1956 epic "The Ten Commandments", but he has an inner strength that makes him a natural leader. Likewise, Scott's Pharaoh Ramses (Joel Edgerton) doesn't carry himself as regally as Yul Brynner did in DeMille's telling of this famous tale, but is no less in charge of his kingdom. This Ramses is quieter than earlier cinematic incarnations, but is also more terrifying in his ruthlessness. The director and the other main characters in this film (including Ben Kingsley as a Hebrew elder, Sigourney Weaver as Ramses' mother and Aaron Paul as Aaron) may approach their tasks in a 21st century style, but the result is no less powerful than the aforementioned mid-20th century classic.

As is the case with the characterizations of the story's legendary figures, the differences in the storytelling and the visuals between this version of Exodus, DeMille's version and the biblical account have the potential to upset, to thrill, or even a combination of both, based on the moviegoer's beliefs and attitudes. In this version of the story, Moses' first attempts to convince Ramses to free the Hebrews take on the form of guerilla warfare - a type of insurgency which, unfortunately, feels like a pointless and unnecessary diversion from the commonly accepted progression of events. The plagues are represented as natural occurrences which cause considerable suffering but rarely kill, at least up until the death of the firstborn which is shown in all its tragedy and clearly as the act of one very unhappy supreme being. Speaking of which, God is represented as a young boy who has conversations (and even arguments) with Moses, but whom only Moses can see. As for the climactic parting of the Red Sea (the main reason to see the movie in 3-D), the waters actually recede more than they part, but when they come back to swallow up Pharaoh's army, we're talking tsunami, and a pretty impressive sight it is.

Much like Moses' weapon of choice, the filmmakers' scripting and editing solutions to the difficulties of retelling this story well is a double-edged sword. Making such a wide-ranging film (showing every major benchmark from Moses in battle for Egypt up to the end of the Hebrews' 40 years in the wilderness) last "only" two-and-a-half hours means skipping a lot of detail. This approach will be applauded by most of those who want to keep things moving, but could be criticized by some who are less familiar with the story. The performances feel more authentic and down-to-earth than previous versions of the Exodus legend, but you may find yourself feeling nostalgic for the thrilling grand-standing of a Charlton Heston or a Yul Brynner. Showing some of the more incredible aspects of the tale as naturally occurring phenomena may make the story more relatable, but at the same time, be upsetting to the faithful. Similarly, some of the more noticeable derivations from the biblical account can be seen as either creative, or sacrilegious. For decent but unimpressive acting, great visuals, and creative decisions which range from the inspired to the slightly bizarre, I give "Exodus: Gods and Kings" a "B" and a mild recommendation to see it.