Exodus: Gods and Men was a movie that I thought would be great, then I thought it would be terrible, and then I thought it would be okay was one that ended up being pretty good. I am a massive fan of Christian Bale (The Dark Knight Rises, Out of the Furnace) and Ridley Scott (Alien, Gladiator). Bale has had numerous hits over the last decade. I’d say I’ve seen 13 out of his previous 15 movies that I’ve been a big fan of. Once as reliable as they come, Scott has had some misses in recent years, most notably The Counselor and Robin Hood. Both of these movies should have been great, and both underwhelmed. Even after my research, I still have almost no idea about what the plot of The Counselor was. And even though neither of these men was associated with the disaster that was Noah, that movie also had a respected actor (Russell Crowe) and director (Darren Aronofsky). It was quickly my least favorite movie of 2014. Fairly or unfairly, Noah tempered my expectations of Exodus: Gods and Men. It did not help that the Bale/Scott venture got panned by the critics (28% fresh on Rotten Tomatoes) and was equally shunned by audiences (just $65 million domestically despite a $140 million production cost). And I am not well-versed enough in the story of Moses to know how actual this movie was to the Biblical account. What I do remember is that I enjoyed this movie. It is currently my 12th favorite movie of 2014. I don’t expect it, at this point, to fall any lower than that.
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Category Archives: Sigourney Weaver
Rampart (2012)
Rampart is one mess of a movie that guts by (barely) on the merits of Woody Harrelson (Natural Born Killers, Transsiberian). I can’t say it’s worth the watch because of him, but it would have been an excruciating two hours had he not been the star. Its 76% approval rating on www.rottentomatoes.com is somewhat alarming, considering how incoherent and inconsistent the script was. This was a must-see movie when I saw that it was reuniting Harrelson with director Oren Moverman. The two struck gold with Moverman’s directorial debut, 2009’s The Messenger. That movie had a purpose. It had believable drama. It had a meaningful storyline. Never did it cause you to ask yourself, “Huh?” or “What just happened?” or “How are these characters getting away with all they are getting away with?” Instead, Rampart ends up being just one jumbled, incoherent disaster.
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