Moses is banished and winds up in a village, where he marries and has a son. He has visions of a stern-faced young boy who calls himself “I Am” as strange plagues descend on Egypt. Following the mass death of firstborns, including Ramses’ son, the slaves follow Moses across the desert, until they hit a watery roadblock.
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Scott’s staging of the Red Sea scene is technically cool but dramatically a drip. The water recedes instead of rises. The effects are naturally greater than in 1956, but emotionally underwhelming.The same goes for the Egyptian monuments, the plagues and other big-ticket moments (the talking burning bush is a silent azure brushfire, the Commandments an afterthought). As with Darren Aronofsky’s “Noah,” “Exodus” strives for realism amid its Biblical lore, which strips the tale of poetry and power. “Noah” at least had scale and showmanship, which this movie, like Scott’s “Robin Hood,” is missing.
Ironically, only in its casting does “Exodus” recall Old Hollywood, a time when John Wayne could play Genghis Khan, Marlon Brando could be Emiliano Zapata and Charlton Heston could play anyone. Bale is an extraordinary actor, but the guttural Batman-in-the-wilderness bit he uses here feels like a student so unprepared for a test that he just wings it. There are times when Moses smirks at his adversaries, as if Bale also can’t see why he’s there.
Edgerton (“Warrior,” “The Great Gatsby”) is even more out of place, while Turturro, Sigourney Weaver (in Egyptian eye makeup) and Ben Kingsley (as a noble Jewish leader) suffer through traditional, and semi-embarrassing, cameos.
It’s an economic reality that Scott — whose best films remain “Alien,” “Blade Runner” and “Gladiator” — couldn’t cast unknown but ethnically appropriate actors in a multimillion-dollar wannabe epic, but there could still have been inspiration, like maybe Adrien Brody or Ben Foster as Moses. As for Ramses, the movie missed a chance to make “star is born”-type headlines.
Worse, “Exodus” is ultimately undone by its horrible script, credited to four people. The movie’s technical achievements can’t drown out 21/2 hours of awfulness.
In the end, should “Exodus: Gods and Kings” just be ignored? As Ramses said in the original, greater version of this tale: “So let it be written, so let it be done.”
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