EXODUS: GODS AND KINGS. Christian Bale as Moses

Is Exodus: Gods and Kings a good movie? There is still a visible trend in cinema to reconstruct and refresh biblical stories. I won’t hide the fact that I welcome this with considerable enthusiasm, not least because of the fundamental nature of the original source material. This time, the representatives of the Dream Factory have taken on the fate of one of the most important Old Testament prophets. The figure of Moses connects the three most influential monotheistic religions, which gives his story a highly universal resonance. A message worth recalling, even without clinging too tightly to a religious context. For what we’re given is the archetype of the Hero. Adopted into the royal family of the ruling people, the Hero is unaware that he actually belongs to a different nation – the enslaved one, oppressed by the rulers for four hundred years.

The truth about his origins strips him of his place in the family he knew and sets the course of his future. Then comes a moment of enlightenment: a mysterious voice reaches his conscience, prompting the Hero to put an end to tyranny and oppression, as he realizes this is part of a deeper purpose. He confronts his adoptive brother, now leader of the ruling people, and through sheer will and moral clarity leads his kin to freedom.

Aware of the unique nature of his mission, the Hero assumes this liberation is only the beginning of shaping a new society—one that, once freed, will need guidance and structure. To those disheartened or biased against biblical themes—especially Old Testament ones, which often show God’s wrathful side—I’ll politely point out that their return to the screen is mainly about revisiting their original and essential form.

In fact, all forms of art—especially popular ones—have always drawn on this material. And to those who, on principle, threw stones at Ridley Scott’s new film even before its release, while at the same time praising the adaptation of Tolkien’s trilogy (which, for the record, I also admire), I’ll gently remind you that both stories stem from the same book. Frodo is just another chosen one, burdened with a sacred task—to renew the face of his world and rid it of sin. That’s the essence of myth: cast into the timeline of culture, it returns in different forms but always carries the same core values.

As for the film Exodus itself, I must admit I was far more moved by another reinterpretation of the Bible from the previous year—specifically, the story of Noah. Darren Aronofsky’s film was presented in a more stylistically intriguing format and featured a deeper psychological portrait of the main character, who, torn by moral dilemmas, walks a path whose direction remains uncertain—even if the story is widely known. Ridley Scott, meanwhile, chose a safer and more conventional formula, crafting his work more or less “by the book.

” His Exodus was shot in the spirit of modern realism, which changes the look of all the miraculous events, and his main character doesn’t contrast as sharply with his antagonist (if Ramses can even be called that). Still, this doesn’t alter the film’s overall character, which is grand and solemn. Pulled straight from Hollywood’s Golden Age, Exodus continues the tradition of old-school sandal epics.

Along with its formal grandeur, it also suffers from a bloated screenplay that tries to capture every major aspect of the source material. That this style can bore or disengage modern audiences—especially those already familiar with the plot—almost goes without saying. It’s worth noting that the creators of the animated Prince of Egypt managed to tell the same story in just ninety minutes without losing its essence and keeping the pacing tight.

Despite its generous runtime, Exodus still omits several important elements of Moses’ story. For reasons unknown, the character of Aaron—Moses’ older brother and the first High Priest of Israel—is marginalized. He appears briefly and speaks only a few lines. Given his role, he should have had much more to say in the film. This omission leads to another, even more serious one: Aaron was one of the key figures behind the creation of the golden calf—a blasphemous object of worship raised by the Hebrews while Moses was on Mount Sinai.

In the movie, this episode is barely mentioned, which is unfortunate, as it gives crucial context to the significance of the Ten Commandments. Perhaps these and other oversights will be corrected in a possible director’s cut. Nevertheless, the film incorporates some ideas that ultimately elevate its quality. One of its standout moments is the depiction of the Ten Plagues of Egypt—a true showcase of directorial skill, executed in a way that maintains internal logic and leads to the breathtaking final blow: the death of the firstborns.

But perhaps the most defining element of Scott’s vision is the personification of God—as a young, unnervingly intelligent boy. This concept may seem controversial, but it’s also artistically intriguing. Within this metaphor lies the Old Testament nature of the Creator—vengeful and jealous—traits often seen in children. In conclusion, Exodus—yet another expression of Hollywood’s trend of returning to its roots—holds up reasonably well. Though it often mishandles the source material, its scope evokes nostalgia for what used to be called great cinema—epic in both content and form.