"Are you not enslaved?"
I expected Christian Bale's Moses to shout at any moment. Unfortunately he never did. Which would've been a high point for Ridley Scott's latest historical snoozer, I mean, epic.
Maybe that's unfair, because while it is routinely sleep-inducing, it most certainly is epic. Often large scale historical or fantasy films can feel less grand than microwave meal for one, but if Ridley Scott can be accused of anything, then doing things small is not one of them. The scope of Egyptian ambition and achievement are breathtakingly observed and constructed to deliver an impressive world of industry and opulent excess and provide a grounded and threatening backdrop to a nations drive for freedom.
There are a number of things Exodus gets right, both as a finish and as a core idea. The constructed world is one of them, as are the costumes and clothing, each outfit unique and specific in look and presence. Joel Edgerton is unnervingly selfish and malevolent as King Rameses, and the depiction of the plagues is a brutal and uncompromising experience. Moses, when conversing with God, comments that all suffer, not just the oppressors, and it's an interesting point. Often with legend or folklore the acts themselves are the focus, yet Exodus takes the point that actions affect people, and it wisely focuses on the consequences suffered, a realisation of the effect of actual events.
The base idea of Moses and Ramses as broken brothers is this story's main strength, and it's played well enough, but the greater familial politics which could've been so interesting fell under baked, and with a little more control could've been deeper and more meaningful. Moses is exiled far too quickly, and Sigourney Weaver's Egyptian matriarch has barely two lines and even less screen time. Ultimately they're a means to a plot point, and the impact is dulled. Similarly Moses' mixed heritage, his reticence at seeing his adopted nation suffer and the effects of the plagues on his Israelite brethren could provide an intriguing and emotional intensity to his personal wrestle with God's will, but rather comes across as a stubborn man's reluctant grumbling.
Exodus starts with a fictionalised attack on nearby Hittite militia that serves to show the uncompromising might of the Empire, and proves Ridley hasn't lost his edge in a fight. It does, however, also highlight how little action there is throughout the rest of the film, right until the sea-soaked finale which features not a single sword blow. It's difficult to cram so much story into a film, and to manufacture action where there is none, but as Gladiator proved ancient politics need not be a snore-bore. Moses himself often feels rather self centered, and peripheral characters like his wife, brother Aaron, Sir Ben Kingsley's Nun and Aaron Paul's Joshua may as well have not turned up, they are used so infrequently.
Ultimately it's a lush, ambitious film filled with great ideas delivered at a slow plodding pace, which after three hours may have you asking: are we entertained?
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Director: Ridley Scott
Featuring: Christian Bale, Joel Edgerton, Sigourney Weaver, Sir Ben Kingsley, Aaron Paul
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