Moses & Aron left me with the impression that Moses was little more than a gnomic purveyor of snake oil. In Ridley Scott's Exodus, his vision for the Hebrews is less philosophical and principally attributable to a bump on the head, whereupon God, in the visage of an English boy, speaks to him and makes him tea. If this sounds daft then just go back to the original text.
I loved the spectacle this old-fashioned-brought-up-to-date epic and was not bored in spite of the length. On return from his exile Moses becomes a terrorist, torching the granaries and launching a bronze-age rocket attack on the food chain - the irony of this will not be lost on the cinema goers of Gaza, if there are any cinemas left. The plagues of Egypt are suitably noisome and secularly inspired. The Passover is understated and cleverly done, reminding us that Scott has made some great sci-fi. There is a tiny kernel of a serious film embedded in this that occasionally pokes its head above the CGI splendours, but don't let that bother you, just enjoy the 3-D spectacle and Pharaoh milking his albino cobras.
I loved the spectacle this old-fashioned-brought-up-to-date epic and was not bored in spite of the length. On return from his exile Moses becomes a terrorist, torching the granaries and launching a bronze-age rocket attack on the food chain - the irony of this will not be lost on the cinema goers of Gaza, if there are any cinemas left. The plagues of Egypt are suitably noisome and secularly inspired. The Passover is understated and cleverly done, reminding us that Scott has made some great sci-fi. There is a tiny kernel of a serious film embedded in this that occasionally pokes its head above the CGI splendours, but don't let that bother you, just enjoy the 3-D spectacle and Pharaoh milking his albino cobras.
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