Gods of Egypt (2016)

The movie is a demented, kitschy entertainment that embraces its vulgar excesses with more honesty than many respectable films, delivering modest but consistent rewards. The critic singles out the Eurocentric casting and unconvincing effects as notable flaws while admitting enjoyment despite the generic story.

The film is utterly ridiculous with clunky dialogue and video-game-like action, yet remains hard to resist and surprisingly fun in its kitsch spectacle.

The film is overlong and silly, with some visually appealing elements but devolves into tedious action; praises the effects-driven fantasy-kitsch vision of Egyptian myth but criticizes the screenplay and staging.

The review examines the film's whitewashing controversy alongside its action-fantasy elements and overall execution.

The film is thin and overstuffed, with dazzling setpieces but unengaging characters; visually impressive but feels like watching a video game, with a disconnect between characters and universe.

The film starts as a fun, cockeyed swords-and-sandals lark with a clear vision and game cast but devolves into repetitive, unimaginative action sequences that kill its retro charm. The critic singles out the elaborate kitsch of the visual design and the committed performances for praise amid the clichés.

The review finds the film daft and over-the-top in a Hollywood way but ultimately fails to match the preposterous energy of the original Egyptian myths. It may have cult potential despite its flaws and poor reception.

Underachieving rather than awful, Alex Proyas’ cornball, CG-driven adventure is tiresomely mad. Everything feels half-cocked, from the naff dialogue to the bargain basement visual effects, though it is more fun than something like Wrath of the Titans.

This is a dreadful, chintzy CG eyesore that oozes stupidity, yet Proyas delivers it with lunatic conviction that earns it a place among gloriously watchable follies. The critic singles out the director’s passionate visual flair and occasional striking effects amid the self-indulgence.

The struggles of deities trouble mortals in Alex Proyas’ first film in seven years; however Gods of Egypt is unlikely to inflict much distress upon audiences for too long. Despite starting with a sense of grandeur, this fantasy-adventure is unable to back up its initial confidence with content, though its light-hearted tone is a saving grace.

The film has some throwback virtues but falters by imposing a contemporary superhero framework on ancient mythology; criticizes inelegant direction, rapid cutting, and the divide between visual ambition and narrative execution.

The film starts with absurd energy but quickly becomes flimsy and loses momentum after the first half hour.

The critic finds the film overstuffed, witless, and bloated, criticizing its whitewashed casting, cheesy CGI, and lack of campy fun or magic despite the high budget.

This cheesy catastrophe features cheap-looking special effects and a handful of jokes that fall flat. As the film totters to its predictable finale, the closing moments set up a sequel, a prospect far more terrifying than anything seen in the movie.

The critic calls the film a catastrophe that is misconceived and badly executed, with cheap-looking effects and a plot that confuses convolution with depth. Proyas fails to make the lurid material fun or exciting, resulting in the worst blockbuster of summer 2016.

The film is mostly horrific, with no interest in story beyond shoehorning mythology into a deadening superhero template, making it one of the worst of the year.

The film is called a spectacular mess that is shameless in its excess but has an endearing B-movie garishness and go-for-broke attitude. The critic singles out the overabundant, artificial CG visuals and performances for complaint while noting the sturdy plotting amid the nonsense.

The critic calls the film terrible and not even enjoyable as camp. She singles out its overly serious tone and lack of passion or engagement with the material.

The film is flawed B-grade schlock with a laboured running time, flat lead performance and plodding plot, but its ramshackle, demented imagination and strange images make it just about worth seeing as escapist fun. The supporting cast, particularly Rufus Sewell, stands out and brightens the proceedings.

The critic finds the film a kitschy disappointment with poor CGI, weak dialogue, and underwhelming performances from a strong cast. The overall verdict is to skip it in favor of something else.

The critic finds the film dull and silly with the worst computer-generated effects imaginable, failing even to be enjoyably bad. He singles out the unconvincing visual effects and clumsy writing, along with the whitewashing of Egyptian roles, as key problems.

The critic finds the film bland, unspectacular, and infuriatingly dull as an action blockbuster. She singles out its lack of tension in fight scenes and cultural ignorance.