Realização:
Ridley ScottCâmara:
Dariusz WolskiMúsica:
Alberto IglesiasElenco:
Christian Bale, Joel Edgerton, John Turturro, Aaron Paul, Ben Mendelsohn, María Valverde, Sigourney Weaver, Ben Kingsley, Hiam Abbass, Ewen Bremner (mais)Streaming (3)
Sinopses(1)
Exodus: Deuses e Reis é uma aventura épica que retrata a história de coragem e ousadia de um homem, que conquista o poder de um império inteiro. Com recurso à arte dos efeitos visuais e à profundidade do 3D, Ridley Scott dá uma nova vida à história, trazendo de uma forma incrivelmente real o terrível ciclo da praga mortal e o confronto do lider Moisés (Christian Bale) e o faraó egípcio Ramses (Joel Edgerton), quando lidera 600.000 escravos numa viagem monumental de fuga do Egipto. (Big Picture Films)
(mais)Vídeos (27)
Críticas (9)
A epopeia bíblica de Moisés, na qual não há necessidade de analisar os personagens e as suas relações, porque todos os conhecemos bem. Apenas um belo conceito épico com exteriores de tirar o fôlego e trajes bonitos, e representações espetaculares de catástrofes lendárias ou a travessia do oceano farão do filme um sucesso espetacular. Pois, não é assim. Sou ateu, e os acontecimentos bíblicos por si só não são suficientes para me entusiasmar. Eles deveriam ser apenas uma base de ideias para um retrato sincero das motivações dos personagens e das dificuldades duma etapa histórica crucial da humanidade, dos seus problemas políticos e étnicos. Tudo isto ou está ausente em Exodus: Deuses e Reis, ou apenas superficialmente refletido nele. É um trabalho majestoso que é menos divertido do que a treta de Drácula - A História Desconhecida.
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An untraditional presentation of God (the comparison God as a kid with a magnifying glass and people as ants lacks metaphor) and a story of Egyptian plagues. Scott works with modern themes and reflects the contemporary wherever he can. Sometimes this is to the benefit of the movie, sometimes to its harm. The problem is the restricted length (Sigourney appears almost as an extra) which eats away at the sophistication of the characters and the significance of some decisions. Exodus reminds me of the movie theater version of Kingdom of Heaven which, despite its quality workmanship, didn’t manage to say what it was all about and that wasn’t fixed until the director’s cut came out on Blue-Ray. The exteriors and the effects are well-polished and the Egyptian makeup soon didn’t matter anymore. At all stages of Moses, Bale was excellent, but his friendly atheist becomes a believer schizophrenic far too soon and in the second part the good guy turns into a bad guy, God knows why... and Rameses just won’t negotiate with terrorists. The viewer understands this in the light of contemporary events, doesn’t he? Doesn’t he? Missed opportunities certainly, a bad movie definitely not. Compared to Prince of Egypt, just a little superfluous.
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We can clearly see in every other scene, how much the movie was edited and it is more that obvious that Ridley has a much longer version of it in his drawer. Without this, it would have been even better. But even in its current not polished form, it is exactly what one would expect from it. In other words, it is a truly magnificent and handcrafted adaptation of one of the most impressive stories ever. The snag is mainly in the form of the already mentioned cinema editing, which should have either been shorter and free of all those ambitious subversive motives and themes (Moses' blinded madness, his unbelief, vengeful (not)God of preschool age, emphasis on the non-mythological line, doubting Joshua, Macbeth-like Sigourney, much more sympathetic Egyptians led by the pharaoh, etc.) and simply being an "precise" adaptation of the well-known or should have been even longer and should have been more focused on the above-mentioned and purely sympathetic ambitious subversions. In its current form, however, it is unfinished and halfway, because the epicness of Egypt, individual wounds and the exodus itself were prioritized in terms of footage. Which is a letdown on one hand, but on the other hand it is very enjoyable to watch. That is for sure.
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At first, I thought Scott was going to do the bidding of the Jewish lobby, which has long since failed to let the viewing public be moved by its bitter fate through a narrative sandal. Yet he goes about it in a surprisingly rational way, and so while the pragmatic appreciation of the seven plagues of Egypt by Pharaoh's croaker is still laughable, Moshe's revolution, in which he is on the edge of personal madness, is no longer feigned, and the unorthodox vision is definitely clamped at the bottom of the Red Sea, with even the slight shortcoming (the not-quite-functional portrayal of the bond between the "brothers," which is fortunately saved by both characters; and 20 minutes more would have helped) receding and both ordinary viewers and the those familiar with the literary work will be satisfied.
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Definitely better than Darren Aronofsky's Noah, but still, Ridley Scott could have gotten more out of it. Exodus is an epic and visually arresting sensation that is rather empty, cold, emotionless and with an excessive running time, that's what slightly hindered my full experience here. For an hour and a half nothing interesting actually happens apart from Moses' wanderings around the world, this could definitely have been cut down and instead more time spent on the Egyptian plagues, which are over rather quickly, but there can be no fault with them they are perfectly shot, gripping and breathtaking. The final tsunami will literally make your mouth drop, I've never seen anything better. It's amazing how technology is moving forward, it's a pity the pace didn't get more of a push on the throttle, it might have made me melt. Must see on big screen!!! 75%
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Galeria (85)
Photo © Kerry Brown / TM and Twentieth Century Fox Film Corporation
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