L'exode : Dieux et rois

Défendue par une invraisemblable distribution caucasienne, composée d'acteurs mal à l'aise dans des rôles difficiles, cette relecture à la fois respectueuse et ambiguë de l'Exode (...) est problématique à plus d'un titre.

Ridley Scott a malheureusement raté L'exode: Dieux et rois, son épopée biblique sur Moïse et la fuite des Hébreux hors d’Égypte. (...) J’ai réfréné quelques rires moqueurs à plusieurs reprises et j’ai abondamment bâillé (...). 

Exodus, sans contredit, est un film raté. Mais malgré toutes ses maladresses, on ne peut pas s'empêcher de penser qu'il est surtout la victime d'une volonté maladive de plaire, de se conformer à toutes sortes d'exigences qui n'ont plus rien à voir avec le cinéma.

Au final, Exodus : God and Kings est une œuvre aussi insipide que troublante qui nous confronte à un type de cinéma de divertissement.

En somme, Exodus: Gods and Kings est à voir si on on prêt à accepter la déconstruction sans complexes de récits divins.

Even when it misses, its mistakes are larger than life because Ridley Scott swings for the fences, and I found that admirable. I can't imagine anyone paying for a ticket to see Scott's vision for the larger-than-life Old Testament stories leaving the epic – yes, epic – Exodus: Gods and Kings disappointed. 

Scott's latest is filled with his immensely powerful and stirring images, and it attempts a very unique approach to the oft-told tale, yet it is only a mildly satisfying movie going experience. Too often it is dull and humorless with very little color or charisma.

No movie with such a limp ending can be fully satisfying, and the beginning also falters. But the long middle section is a rousing good show.

Exodus is a biblical epic that comes at you at maximum velocity but stays stirringly, inspiringly human.

Exodus: Gods and Kings is undeniably transporting, marked by a free-flowing visual splendor that plays to its creator's unique strengths: Given how many faith-based movies are content to tell their audiences what to think or feel, it's satisfying to see one whose images alone are enough to compel awestruck belief.

That spirit of old-fashioned spectacle — corny, earnest, indulgent, insistent, kitschy — is probably the best way to approach Exodus. It’s also the best way to approach some of the frustratingly lily-white casting choices. Yes, it's probably true that Scott needed someone like Christian Bale to make sure he could get his film made.

(...)but Exodus: Gods and Kings never successfully captures the perils or the victories. At best, you'll leave humming the plagues.

 And yet, before you're able to get too distracted by Exodus' flaws, Scott reaches back into his bag of pixie dust and whips up another grand illusion. These feats all climax with the parting of the Red Sea, the biggest special effect in the history of religion. Scott's bravura version makes DeMille's once-miraculous money shot look about as quaint as a magic trick bought from a gumball machine

A numbing and soulless spectacle of 3-D, computer-generated imagery run amok, Ridley Scott's Exodus: Gods and Kings presents an enduring tale by pummeling us over the head with it.