December 18, 2014

This is a film that has a terrific target, but the focus is so dreadful it’s insulting. This especially rings true when it compares to its predecessor The Ten Commandments at a time when the quality of human being is demonstratively more substantial than it is now. That, for instance, an audience had the patience to be able to sit through an almost four hour epic, and had the maturity to be engrossed with the story of an epic yet told on a much smaller interpersonal level. It seems when Hollywood is given the chance now, to razzle and dazzle versus to actually tell a story, they opt for what the masses want, which since Western antiquity is spectacle versus contemplation.


I don’t fault studios for baking such garbage pies. I’m actually extremely disappointed that each of the high-profile actors participated in denigrating art itself. The money, of which minimums are guaranteed and fixed to a production budget thanks to the screen actors guild, clearly was too good to pass up for something that can elevate the human condition. It only fortifies the stance that to become a true artist requires the development of income beyond one’s talent at producing art; otherwise you are condemned to shame for eternity.

And why so make such a strong and vituperative exclamation that this is trash? This is the degeneration of the lynchpin to the greatest story ever told: of how God has trickled himself into the consciousness of man. Again, the aim for the film is terrific. I have no qualms at creative and artistic licenses being taken on the greatest work of literature, indeed the greatest work of art, ever produced which is the Hebrew Bible. In fact, it is necessary and even an obligation for mankind to continue to draw water from this source to shed light on their own present condition. I appreciated then the principle concept of emulating Scorsese’s genius with his Last Temptation of Christ, whereby there is an attempt at making Moses human, frail, insecure with his duty, his purpose, his being. This is actually much overlooked in the story of Moses itself, as there is a perpetual reminder in the Biblical text of his own humanity when faced against achieving transcendence.


Yet the patience required to empathize which such a duty that is inconceivable to the everyday, a duty which no human life aspires to and in fact is brutishly below, a life which makes every other and the everyday overwhelmingly pitiful wherein the vanities of the ever changing are empty and what ought to make every human rejoice in its meaninglessness only to threaten their confrontation with nihilism which they cannot pitifully overcome, is all lost in a vulgar bargain for sensationalizing the second act of the Exodus. The plagues with this appropriate aim yet embarrassing execution ought to force the recognition to the audience of the progression of the human mind away from creating a world in his deified image versus a world which is necessarily beyond what he can imagine. This is such a radical idea it still has not become prevalent and dominant in world history despite its matriculation for over three thousand millennia.


Film which draws on religious material has the necessary fan base to be experimental, to be audacious, to be relevant, to take the source and perfect it even further. This was not the case here. Instead, blasphemy was produced, or the production of images which necessarily degenerate and deform the ideas invoked which have moved the world more than any of the participating artists ever will. Money will never be a god higher than the God of Israel – a concept still yet to be learned.


Grade: D



Subscribe to our mailing list

Latest Reviews