Scott Mendelson reviews the soon-to-open movie by Ridley Scott, and finds it awful:
Exodus: Gods and Kings is a terrible film. It is a badly acted and badly written melodrama that takes what should be a passionate and emotionally wrenching story and drains it of all life and all dramatic interest. It hits all the major points, like checking off boxes on a list, yet tells its tale at an arms-length reserve with paper-thin characters. It is arguably a film intended for adults, with violence that makes a mockery of its PG-13 rating, yet it has far less nuance, emotional impact, and moral shading than DreamWorks Animation’s PG-rated and seemingly kid-targeted The Prince of Egypt.
The film starts with an arbitrary mass battle scene, one which serves no purpose save for having a mass battle sequence to toss into the trailers. The primary alteration to the story is the inclusion of said gratuitous action beats. The film is relentlessly grim yet oddly unemotional, which is a tricky balance to accidentally pull off. The actors (who have all done excellent work elsewhere) are all oddly miscast, and that’s not even getting to the whole “really white actors playing Egyptians” thing. Oh right, that little issue… It’s actually worse than you’ve heard.
In retrospect, it may have been better to just make a 100% white cast similar to Noah. This film instead is filled with minorities in subservient roles, be it slaves, servants, or (implied) palace sex toys. Instead of merely having a film filled with only white actors, what the film does is implicitly impose a racially-based class system, where the white characters are prestigious and/or important while the various minorities are inherently second or third-class citizens almost by virtue of their skin color. I am sure this was unintentional, but that’s the visual picture that Exodus paints.
Now to be absolutely fair, even if Exodus was cast with 100% racial/ethnic authenticity, it would still be a pretty bad motion picture. The screenplay has our poor, miscast actors speaking in various accents and in a bizarre hybrid of “ancient times period piece” English and more modern American English, which leads to lines like “From an economic standpoint alone, what you’re asking is problematic,” which is Rameses’s (Joel Edgerton) response to Moses’s initial plea to “Let my people go!”