2014 was a shockingly impressive year for blockbusters, both for better and for worse. The glam-rock space-opera, the brooding ape-filled apocalypse thriller, the American-unchaining of one of last year’s best international films, the surprisingly entertaining rather-rinse-repeat sci-fi misdirect, the financial powerhouse and critical whipping-boy, the Nolan Experiment, and even not-one-but-three young adult literary adaptations all found their way onto the pile, scratching with clawed fingers, pushing and shoving their way for some fresh air at the top of the hill. The disparity of quality was almost as large as the supply of films provided. Though few fell with as much grace or were used with such squander as Exodus: Gods and Kings.
Starting with a rather messy casting controversy not made much better by Scott’s general lack of giving a shit, Exodus had a lot to make up for even prior to its release. While having little impact within the film itself, this lack of apparent evidence, explanation or comprehension for this lack of diversity and readily recognized disparity. It seems not so much as a scarlet letter of shame for the regression of cinema, yet it certainly is not a red badge of courage for progression therein.
Exodus has a tremendously difficult time deciding exactly how it wants to portray is subject matter. Biblical adaptation, historical epic, character drama all swept up into one. While the tone remains static, the telling refuses. God is represented as a petulant child; at first his existence is irrelevant, tossed into question by a subplot questioning Moses’ sanity that is left unresolved as the first set of plagues are explained by rational events. But suddenly, the the mystical happens, seemingly prepared to ignore the suspicion planted in the audience prior. Characters are introduced and done away with at an alarming rate, add though we are seeing a much, much shorter film than promised.
Performances are a strange case. The star-studded cast continue to prove themselves as the cream of the crop, yet no actor stands out as anything exceptional, just well enough. There’s seems to be a general assumption amongst everyone involved that this film is little more than a paycheck (which might have been understandable, assuming it grossed enough to warrant such condescension), another blockbuster a few inches classier than what general audiences expect. Again, perhaps forgivable, if the year hadn’t already been filled with far superior blockbusters.
Exodus has all the scale and none of the scope, is filled with gloss but missed the glory, and seems to have its concept in mind but fails to keep its construction intact. It would be easy to say that Exodus: Gods and Kings is a disappointment, but that would be making the assumption that anyone involved had the high hopes set out in the first place. It is a film that, while managing to avoid aggravation or leaving a bad taste that lingers too long, still has a reach that vastly exceeds its grasp.
loudpilloud 