---
title: "Exodus: Gods and Kings"
year: 2014
kind: "film"
canonical: "https://film.one/film/exodus-gods-and-kings"
fi1m_id: "exodus-gods-and-kings"
imdb_id: "tt1528100"
tmdb_id: 147441
wikidata_id: "Q14942871"
fi1m_score: 52
critics_score: 49
critics_reviews: 24
published: "2026-10-05T13:30:43.422806+00:00"
updated: "2026-10-05T13:30:43.888424+00:00"
region: "MX"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Exodus: Gods and Kings (2014)

Directed by Ridley Scott · 2h 30m · Adventure, Drama, Action

## Identity

Exodus: Gods and Kings

- **Canonical:** https://film.one/film/exodus-gods-and-kings
- **Type:** Film
- **Fi1m ID:** exodus-gods-and-kings
- **IMDb ID:** tt1528100
- **TMDB ID:** 147441
- **Wikidata ID:** Q14942871
- **Same entity:** https://www.imdb.com/title/tt1528100/, https://www.themoviedb.org/movie/147441, https://www.wikidata.org/wiki/Q14942871

**Fi1m score: 52** · Critics 49 from 24 reviews

*In a sentence:* Ten plagues, four screenwriters, two and a half hours, and the clearest point of view in the film belongs to the crocodiles

> Ridley Scott films the plagues as the best half-hour of large-scale horror he has staged in years, and surrounds them with a 150-minute war film in which nobody is allowed a personality, least of all Moses. For the frogs and the water; not for the man.

## Synopsis

Egypt, 1300 BCE. Moses (Christian Bale) and Ramses (Joel Edgerton) have been raised as brothers in Memphis under Pharaoh Sethos I (John Turturro), Moses the better general and Ramses the heir. Before a battle against the Hittites at Kadesh, the High Priestess (Indira Varma) reads a prophecy: one of the two will save the other and become a leader. Moses saves Ramses. Sent to the city of Pithom to inspect the corrupt Viceroy Hegep (Ben Mendelsohn), Moses meets Nun (Ben Kingsley), an elder among the Hebrew slaves, who tells him he was born one of them and smuggled into the palace as a baby by Bithia (Hiam Abbass). Hegep reports what he overheard. When Sethos dies, the new Pharaoh has a decision to make about his brother.

## Review

Ridley Scott’s Moses runs 150 minutes, opens on a caption reading 1300 BCE and has four credited screenwriters: Adam Cooper, Bill Collage, Jeffrey Caine and Steven Zaillian. It wants to do the Exodus the way [*Gladiator*](https://film.one/film/gladiator) did Rome, two men raised as brothers who end up commanding opposite armies, and to be sceptical about the miracles while showing every one. For about forty minutes in the middle, when the plagues come, it is as frightening as anything Scott has made in years. The rest of the time it is a handsome film in which nobody says anything a person would say.

Christian Bale plays Moses as a general first and a prophet under protest. He is good at the soldiering: at Kadesh he rides into the Hittite chariots with the flat irritation of a man doing a job, and when the High Priestess (Indira Varma) reads a prophecy out of a bird’s insides he looks at her as if she had quoted for a repair. The film gives him that scepticism and then nothing to do with it. When God appears, as a boy credited as Malak (Isaac Andrews), Moses argues with him, loses, and does as he is told, and the arguments are the same argument several times over. Bale is never bad. He is never handed a scene in which Moses decides something.

Joel Edgerton has more fun. His Ramses is shaved, kohl-eyed and gold-plated, keeps cobras as pets, and seems permanently puzzled that running Egypt involves so many decisions. It is a camp performance in a solemn film, and we were relieved every time he came back, because he is the only person on screen who behaves as if the stakes are his.

The rest of the cast turn up and are not used. María Valverde’s Séfora gets the film’s one quiet stretch, in Midian, and the script is through it in minutes.

Then the plagues, and the film we were promised. The Nile does not turn red because a staff is dipped in it; it turns red because the crocodiles come in from the banks and start on the fishermen, and the water clouds from the bottom up. Frogs follow the blood and get into the beds. Flies follow the frogs, boils follow the flies, and Dariusz Wolski and Mark Patten shoot it all in a bleached, dusty light that turns the palace gold to brass and leaves the courtiers’ sores looking wet. Billy Rich cuts the locusts as weather, a brown bank rolling over a field, and the dark comes down on Memphis as a smear. We were horrified, properly horrified, and glad of it. Scott has filmed the plagues as a public health disaster that happens to have an author, and we had not seen them done that way before.

Arthur Max builds Memphis as a building site, scaffolding up the flank of a half-finished colossus, and the film is at its most intelligent when it treats Egypt as a place that runs on labour and is beginning to notice. Janty Yates puts the court in pleated linen and gold and the Hebrews in undyed brown, which tells you who to root for before anyone speaks.

The casting was argued over before the film opened, and we will add only that a film which hands its Egyptian court to white actors has made a choice, and the choice shows whenever the camera pulls back on a crowd. The larger failure is dramatic. Scott cannot decide whether God is real or a blow to the head, so Moses can be neither believer, madman nor politician, and the end of a story everybody knows arrives without anyone on screen having seemed to want it.

*Kingdom of Heaven*, from 2005, had the same shape, and in its longer cut it knew what it thought. This one has four writers and the opinion of none of them. See it in a cinema if one is showing it, for the frogs and the water, which shrink on a television to a weather report. The 15 certificate is for the crocodiles, who earn it. The rest you may find yourself admiring from a distance, which is roughly how Moses treats God.

*Fi1m score 52, published 5 October 2026.*

## What the critics say

Most critics come away unconvinced; the reviews lean mixed to negative. Where they do agree is on the spectacle. The plagues are praised almost everywhere, with the locusts, the frogs and the approaching chariots singled out, and the Red Sea sequence is frequently named as the film’s strongest stretch. Ridley Scott’s ancient Egypt is found elaborate and sumptuous, and several reviews praise Christian Bale’s tense, conflicted Moses as the human centre the film otherwise lacks.

The reservations cluster on the script. Critics complain of thin characterisation, rushed relationships, a weak opening and a long, flat middle, and several find the film’s attempts to rationalise the miracles muddled. Joel Edgerton divides them: Radio Times finds his Ramses camp, the Evening Standard finds him sympathetic. Slant Magazine and The Wrap object to the casting of predominantly white actors in the ancient setting. The spread is wide, from four stars at Total Film and Den of Geek to one at Time Out.

## Straight answers

**Is Exodus: Gods and Kings worth watching?**

*Exodus: Gods and Kings* is worth watching only for its plagues, which Ridley Scott films as forty minutes of large-scale horror, and we scored it 52. The surrounding 150-minute war film gives Christian Bale's Moses soldiering to do but no decisions to make, and only Joel Edgerton's camp Ramses behaves as if the stakes are his. See it for the frogs and the water, not for the man.

**How long is Exodus: Gods and Kings, and what is it rated?**

*Exodus: Gods and Kings* runs 2h 30m. It is an adventure and drama film.

**Where can I watch Exodus: Gods and Kings in Mexico?**

*Exodus: Gods and Kings* is streaming on Disney+ in Mexico. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Exodus: Gods and Kings, and is it suitable for children?**

*Exodus: Gods and Kings* carries a UK 15 certificate, and the plagues earn it: crocodiles take fishermen in the Nile, frogs get into beds, flies bring boils, and the courtiers' sores are shot to look wet. There are large chariot battles besides. It is too frightening for younger children and will unsettle the squeamish; older teenagers who can take the plagues will be fine.

**How does Exodus: Gods and Kings compare to The Ten Commandments?**

*Exodus: Gods and Kings* has the better spectacle and [*The Ten Commandments*](https://film.one/film/the-ten-commandments) has the belief, and the belief is what the older film is made of. DeMille takes every word as true and is sincere, enormous and stiff; Scott cannot decide whether God is real or a blow to the head, so nobody on screen seems to want the story. Choose Scott for the plagues, DeMille for the conviction and Yul Brynner.

**What should I watch after Exodus: Gods and Kings?**

After *Exodus: Gods and Kings*, try [*The Ten Commandments*](https://film.one/film/the-ten-commandments) (1956, Fi1m 67): DeMille believes every word, and the belief is the spectacle; Scott only has the spectacle. Then [*The Gospel According to St. Matthew*](https://film.one/film/the-gospel-according-to-st-matthew) (1964, Fi1m 88): Pasolini shoots scripture with non-actors and no money and finds more awe than this; and [*The Prince of Egypt*](https://film.one/film/the-prince-of-egypt) (1998, Fi1m 74): The same story in a third of the time, with songs and a Ramses you feel for.

### Reviews we read (24)

- **Total Film**, Jamie Graham (4/5): Graham sees the film as a bold, entertaining adventure whose scale and uncompromising action make it a striking Biblical epic. He praises the vast battle and plague sequences, while noting that some supporting roles are camp or underdeveloped. [Read](https://www.gamesradar.com/exodus-gods-and-kings-review/)
- **Variety**, Justin Chang (80/100, inferred): Chang finds the film an imperfect but transporting biblical epic, praising its visual spectacle while appreciating its skeptical, morally searching take on faith. He especially singles out the vividly staged plagues and the suspenseful Red Sea sequence. [Read](https://variety.com/2014/film/reviews/film-review-exodus-gods-and-kings-1201364857/)
- **Empire**, Nev Pierce (70/100, inferred): Pierce finds the film a thoughtful, modern biblical epic, though its spiritual uncertainty weakens the cathartic payoff. He especially praises Christian Bale’s tense, conflicted performance as Moses. [Read](https://www.empireonline.com/movies/reviews/exodus-gods-kings-review/)
- **Vulture**, Bilge Ebiri (70/100, inferred): Ebiri finds the film clumsy and tedious at first, but ultimately an enjoyable biblical epic. He praises the visceral spectacle of the plagues and the exodus, while criticizing the early storytelling and character work. [Read](https://www.vulture.com/2014/12/movie-review-exodus-gods-and-kings.html)
- **The New York Times**, A. O. Scott (64/100, inferred): The article appears to be a review, but its verdict and specific praise or criticism cannot be verified from the inaccessible page. The available text contains no review content. [Read](https://www.nytimes.com/2014/12/12/movies/exodus-gods-and-kings-ridley-scotts-biblical-drama.html)
- **Radio Times**, Alan Jones (3/5): The review finds the biblical epic a slog that lacks the awe of earlier religious epics. It praises Christian Bale’s performance, while faulting the script and Joel Edgerton’s camp portrayal of Ramses. [Read](https://www.radiotimes.com/movie-guide/b-6o5u3x/exodus-gods-and-kings/)
- **The Hollywood Reporter**, Stephen Farber (60/100, inferred): Farber finds the film an intermittently thrilling but ultimately unsatisfying spectacle, with a weak opening and anticlimactic ending. He praises the visually impressive plagues and Red Sea sequences, while criticizing the script and underused cast. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/exodus-gods-kings-film-review-752338/)
- **IndieWire**, Eric Kohn (C): Kohn finds the film bland and ponderous, arguing that it drains the story of its imaginative force. He praises its impressive visuals, especially the sweeping images of locusts and approaching chariots. [Read](https://www.indiewire.com/criticism/culture/review-christian-bales-moses-cant-liberate-ridley-scotts-bland-exodus-gods-and-kings-67452/)
- **Los Angeles Times**, Kenneth Turan (50/100, inferred): Turan finds the epic’s dramatic side uneven, shifting between solemnity and unintended silliness. He praises Scott’s elaborate depiction of ancient Egypt and its spectacle. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-exodus-review-20141212-column.html)
- **RogerEbert.com**, Matt Zoller Seitz (2/4): The review gives the film a negative assessment despite its epic ambitions. Its spectacle is undermined by dramatically thin storytelling. [Read](https://www.rogerebert.com/reviews/exodus-gods-and-kings-2014)
- **Screen Daily**, Tim Grierson (40/100, inferred): The visible standfirst suggests a mixed, critical verdict on the film’s gargantuan scale. It singles out the film’s bigness and brawn, which it describes as nearly laughable. [Read](https://www.screendaily.com/exodus-gods-and-kings/5080493.article)
- **Slant Magazine**, Eric Henderson (1.5/4): Henderson gives the film a negative assessment, arguing that its approach to credibility is selective and its cultural choices are retrograde. He singles out the casting of predominantly white actors in the story’s ancient setting as a particularly troubling failure. [Read](https://www.slantmagazine.com/film/exodus-gods-and-kings/)
- **Evening Standard**, Charlotte O'Sullivan (30/100, inferred): O'Sullivan finds the film incoherent and says Moses lacks personality and pulling power. She praises Joel Edgerton's sympathetic portrayal of Ramses and notes the striking spectacle, but feels Ridley Scott is not fully engaged. [Read](https://www.standard.co.uk/culture/film/exodus-gods-and-kings-film-review-christian-bales-moses-lacks-any-kind-of-coherence-9935251.html)
- **The Guardian**, Mark Kermode (30/100, inferred): Kermode finds the film dramatically weak, with its spectacle and racial casting controversy unable to overcome its shortcomings. He singles out the plagues as genuinely awe-inspiring, while the rest of the film is more headache than triumph. [Read](https://www.theguardian.com/film/2014/dec/28/exodus-gods-and-kings-review-drowned-dramatic-failings)
- **The AV Club**, Ignatiy Vishnevetsky (20/100, inferred): The critic finds the biblical epic a tedious, muddled slog that squanders its competing ideas. He singles out its awkward attempts to rationalize the plagues and parting of the Red Sea while retaining Sunday-school spectacle. [Read](https://www.avclub.com/christian-bale-leads-a-slog-through-the-old-testament-i-1798182172)
- **Time Out**, David Ehrlich (1/5): The one-star rating signals a strongly unfavorable verdict. The accessible excerpt introduces the story as one repeatedly retold, but does not reveal what the critic specifically praises or faults. [Read](https://www.timeout.com/movies/exodus-gods-and-kings)
- **Den of Geek**, Ryan Lambie (4/5): Lambie finds the epic visually sumptuous and praises Ridley Scott’s bold, quietly unsettling approach to the story. Christian Bale’s intense Moses and the fraught bond between Moses and Ramses stand out, though the dialogue and some supporting roles disappoint. [Read](https://www.denofgeek.com/movies/exodus-gods-and-kings-review/)
- **The Skinny**, Josh Slater-Williams (★★★): The critic calls it a misguided but breezy epic, and the best of Scott’s recent big-budget mediocrities. The plague sequences stand out for their potent, unsettling horror atmosphere. [Read](https://www.theskinny.co.uk/film/new-releases/exodus-gods-and-kings)
- **Paste**, Scott Wold (5.9/10): Wold finds the film a tone-deaf, overlong failure despite its moments of spectacle. He praises the exhilarating plague montages and striking wide shots, but says they cannot overcome the screenplay and characterization. [Read](https://www.pastemagazine.com/movies/exodus-gods-and-kings)
- **Deadline**, Pete Hammond (55/100, inferred): Hammond is uncertain whether this familiar story offers enough freshness to draw audiences. He praises Scott’s skill at depicting the plagues, while questioning the tale’s novelty. [Read](https://deadline.com/2014/12/exodus-gods-and-kings-review-christian-bale-ridley-scott-1201317699/)
- **Digital Spy**, Stella Papamichael (50/100, inferred): The review finds the film stirring but ultimately unsettled, as its religious themes and human drama lose force to spectacle. It praises Christian Bale’s nuanced performance and the emotional weight he brings to Moses’s doubts. [Read](https://www.digitalspy.com/movies/a617163/exodus-gods-and-kings-review-a-film-that-stirs-and-never-settles/)
- **The Wrap** (25/100, inferred): The critic finds the biblical epic stodgy, solemn, and unsuccessful at making the familiar story feel fresh. They single out its reactionary casting and underwhelming set pieces, while noting the frog and locust effects as a bright spot. [Read](https://www.thewrap.com/exodus-gods-and-kings-review-christian-bale-ridley-scott-joel-edgerton/)
- **Eye for Film**, Angus Wolfe Murray (15/100, inferred): The critic gives the film a strongly negative verdict, finding it confusing, boring, and poorly acted. He singles out the long, flat middle section for particular complaint. [Read](https://www.eyeforfilm.co.uk/review/exodus-gods-and-kings-2014-film-review-by-angus-wolfe-murray)
- **Consequence**, Michael Roffman (10/100, inferred): Roffman finds the film a passionless, exhausting epic that fails to make its biblical story compelling. He particularly criticizes the thin characterization and rushed relationships, despite the visually interesting plagues. [Read](https://consequence.net/2014/12/film-review-exodus-gods-and-kings/)

## Details

- **Director:** Ridley Scott
- **Director:** Ridley Scott
- **Screenplay:** Bill Collage, Steven Zaillian, Adam Cooper, Jeffrey Caine
- **Cinematography:** Dariusz Wolski, Mark Patten
- **Editor:** Billy Rich
- **Music:** Alberto Iglesias
- **Production design:** Arthur Max
- **Costume design:** Janty Yates
- **Producer:** Ridley Scott, Jenno Topping, Peter Chernin
- **Cast:** Christian Bale as Moses; Joel Edgerton as Ramses II; Ben Kingsley as Nun; John Turturro as Sethos I; Aaron Paul as Joshua; Golshifteh Farahani as Nefertari; Ben Mendelsohn as Viceroy Hegep; Sigourney Weaver as Tuja
- **Runtime:** 2h 30m
- **First release (South Korea):** 3 December 2014
- **Genres:** Adventure, Drama, Action
- **Budget:** $140 million
- **Box office:** $268 million
- **Trailer:** https://www.youtube.com/watch?v=6k8qeqZycgE

## Where to watch in Mexico

- Disney+: streaming, uhd

*Checked 2026-10-05.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HR, HU, IE, IL, IS, IT, JP, KR, LT, MX, NL, NO, NZ, PA, PE, PL, PT, RO, RS, SE, SI, TR, UA, US, ZA. Add `?region=XX` to this URL for another country.

## If you liked this

- *The Ten Commandments* (1956), Fi1m 67: DeMille believes every word, and the belief is the spectacle; Scott only has the spectacle. — [Fi1m page](https://film.one/film/the-ten-commandments.md)
- *The Gospel According to St. Matthew* (1964), Fi1m 88: Pasolini shoots scripture with non-actors and no money and finds more awe than this. — [Fi1m page](https://film.one/film/the-gospel-according-to-st-matthew.md)
- *The Last Temptation of Christ* (1988): Scorsese makes doubt the subject rather than a mood, and the film is braver for it.
- *The Prince of Egypt* (1998), Fi1m 74: The same story in a third of the time, with songs and a Ramses you feel for. — [Fi1m page](https://film.one/film/the-prince-of-egypt.md)
- *Kingdom of Heaven* (2005): Scott’s earlier holy war; find the longer cut, which knows what it thinks.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/exodus-gods-and-kings