The Jungle Book (2016)

Released: April 15, 2016. Directed by: Jon Favreau. Starring: Neel Sethi, Bill Murray, Ben Kingsley. Runtime: 1hr, 45 min.

Director Jon Favreau brings his vision of Rudyard Kipling’s classic story of The Jungle Book to the big screen – telling the story with fantastic visuals and a stellar cast.

It’s a coming-of-age tale about Mowgli (Neel Sethi), a man-cub finding his place in his world with animals in the Indian jungle. In fact, Mowgli is one of the film’s only live-action actors with any substantial contribution to the story.

Seethi is given a high task to carry the film as the only live-action actor. His performance is remarkable, capturing the bravery and charming curiosity of Mowgli, as well as his inventive personality.

He’s the heart of the film and he shows a great maturity as the character. It feels like he’s been performing for years – but this is his first theatrical film, his only prior experience was in a short film called Diwali.

While Seethi is virtually the only live-action actor on display in the core cast – the world between the human Mowgli and the motion-captured, computer-generated animals blend together so seamlessly, it feels like he’s truly interacting with real animals.

The visual effects are flawless and so is the attention to detail in how the animals are rendered. It’s really as great as Life of Pi in terms of creating realistic, visually striking animals. The landscape portrayed is vivid and adds to the film all around. The way the actors capture animals’ behaviour and movements adds a heightened realism.

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Neel Sethi in The Jungle Book (Source)

The voice performances for the classic characters are also great. Bill Murray encapsulates Baloo – his laziness is relatable and he’s a fun character.

Ben Kingsley portrays Bagheer, the panther who found Mowgli as an infant in the jungle. He’s also tasked with bringing him to safety to return to his own kind when he is threatened by Shere Khan, the fearsome Bengal tiger. Idris Elba is menacing as the primary villain and doesn’t like Mowgli in the jungle because he is a human and doesn’t trust them. A human gave Shere Khan his scars. This adds a layer to Mowgli, who at times has to question if he could be destructive like that, too.

Also notable is the presence of Christopher Walken as King Louie. He’s changed from an orangutan to a gigantopithecus, to make it native to India. It also gives the scenes with Louie a much grander feel and breathtaking scale because he is so hulking. He’s actually scary here, in a refreshing turn from the original.

His rendition of the original Disney’s “I Wanna Be Like You” serves as one of the feature’s many high points.

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Neel Sethi as Mowgli and Kaa (Scarlett Johansson) in The Jungle Book. (Source)

Murray also sings “Bear Necessities” and Scarlett Johansson as Kaa sings “Trust In Me” through the end credits. That’s it for the songs used from the 1967 animated musical.

Jon Favreau chose to tell the story of how Mowgli got on his own when Kaa (Johansson) was hypnotizing Mowgli, instead of having her sing the song. The slithering character is seen in only one scene – but she’s memorably chilling.

The choice to cast Johansson and gender-swap the character was to done to add another female to the cast, where the only other primary female cast member is Lupita Nyong’o as Raksha.

It is one of the film’s only disappointing aspects that Kaa only has a small role, almost a cameo – as the more utilized “red flower,” fire to the animals, is more utilized as a villain here. The animated Disney flick basically only mentioned “red flower” in passing, so Favreau was more faithful to Kipling’s use of the element.

The way the story is structured is strong and the narrative is so engaging and entertaining. It also handles the iconic characters so, so well. This adaptation was penned by Justin Marks, who shows a great adapting ability. His two other prior screenwriting credits were a television movie (Rewind) and a video game adaptation (Street Fighter: The Legend of Chun-Li).

It might not have songs at every turn, but it handles its own very well as a film with a few violent moments. The third act is a great finale, and the film maintains a compelling pace – peppering comedy, drama and stunning action set pieces throughout. Some of the action even kept me on the edge of my seat at times.

Favreau perfectly finds a difficult balance of capturing the Disney magic, as well as making a mature adaptation that is unique and memorable. I think parents will be bugging their kids to see it so they have an excuse to watch it. And then watch it again. It’s truly great.

Score: 100/100

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The Boss (2016)

Released: April 8, 2016. Directed by: Ben Falcone. Starring: Melissa McCarthy, Kristen Bell, Peter Dinklage. Runtime: 1hr, 39 min.

R-rated comedienne Melissa McCarthy and hubby-and-director Ben Falcone take a second shot at co-writing a screenplay together with The Boss after their first botched attempt in 2014’s Tammy. The good thing is this is a much funnier collaboration.

The basic story follows Michelle Darnell (McCarthy), the (fictional) 47th wealthiest woman of America. The film glosses over how Darnell makes money, simply billing her as a CEO of three Fortune 500 companies. It’s a poor-to-rich story, as Darnell grew up in the foster home system.

Her life gets ruined after she’s imprisoned for insider training. All of her belongings are seized and her house foreclosed, she learns when she’s released. She then stays with her former assistant and single mother Claire (Kristen Bell), basically the only person on who will give her a place to stay because no one is answering Michelle’s calls.

The story feels like Darnell is on a path to make money again, rather than redeeming herself as a person – which just comes out naturally. Her new business venture is a brownie company called Darnell’s Darlings.

She gets the idea after knowing the demand of Dandelions girl guide cookies, after taking Claire’s daughter Rachel (Ella Anderson) to one of the meetings. Claire is the baker for the company because she has a good recipe – and her motivation for helping is to get Michelle off her couch.

Michelle gets more likable throughout. But that’s easy considering her obnoxious introduction at a sold-out arena show about telling people how to make money – where she comes down on a golden phoenix to sing “All I Do Is Win” with DJ Khaled.

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Melissa McCarthy and Kristen Bell in The Boss. (Source)

The Boss is great example of how the essential falling-out of characters can ruin a film’s momentum. The clichéd moment arises because of Michelle’s lack of a family and fear of getting close to people.

The poor narrative is the film’s worst aspect. It feels like the jokes were written first, and then a story was shaped around them. To the credit of Falcone, McCarthy and Steve Mallory, there are many clever jokes and laugh-out-loud moments. That’s the redeeming part that makes this an entertaining film.

A flaw of the film is the fact that Melissa McCarthy gets almost all of the funny jokes. The film suffers when she isn’t on-screen. The character who misses the most is Peter Dinklage’s Renault, an aspiring samurai, or something. He’s obsessed with ex-girlfriend Michelle, where revenge is mostly on his mind, but he still has the hots for her even after she screwed him over.

His banter with his assistant Stephan (Timothy Simons) is simply awkward, but sometimes so stupid it’s almost funny. The character’s so poorly written that Dinklage just has to do his best with the crappiness he is given.

Kristen Bell’s Claire is simply boring – she only has a few good laughs to offer. She’s the set-up for McCarthy’s Darnell, characterized as a single mom who works hard for her daughter. We’re supposed to see Darnell as a really mean boss, but she’s not as bad as any boss in the Horrible Bosses franchise. Maybe we caught her on a nice week?

But Claire just keeps getting stuck with bad bosses, getting stuck with Dana Dandridge (Cecily Strong) when Michelle goes to prison. She’s supposed to be mean, but she’s cringe-worthy and awkward, ribbing Claire for being three minutes late at one point. Tyler Labine as Claire’s love interest is supposed to add a layer in Claire, but all it does is set up a funny scene when Claire prepares for a date.

The characters don’t work, and McCarthy is the best part about this. That’s high praise from me – since I’m not a McCarthy fan. Since everyone else is lackluster, it should be blamed on bad writing and directing from Ben Falcone. It feels like the next time the couple write something together – they should just hire a competent director.

Despite my problems with The Boss, I enjoyed myself and laughed a lot. That’s what counts here. While it may be weaker than any of the three McCarthy and Paul Feig collaborations – Bridesmaids, The Heat and Spy – it’s a lot better than Tammy or Identity Thief.

Score: 65/100

 

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The Bronze (2016)

 

Released: March 18, 2016. Directed by: Bryan Buckley. Starring: Melissa Rauch, Gary Cole, Haley Lu Richardson. Runtime: 1hr, 40 min.

Written by Melissa Rauch (TV’s The Big Bang Theory) and her husband Winston Rauch, The Bronze appears to rely on the idea that since the 4-foot-11 sweet-natured Melissa Rauch is foul-mouthed and aggressive here, it would be so ironic that it would result in big laughs.

The thing is – it’s not funny, and the way it throws a mix of swear words together never amounts to anything hysterical. Which is disappointing, considering it is a passion project.

Rauch stars as Hope Ann Gregory, a local celebrity who brought back an Olympic bronze medal from Rome to Amherst, Ohio. But though she is from Ohio, she has an accent that’s like a bizarre Chicago and Minnesota hybrid.

She gets whatever she wants in the town – from free food to a reserved parking spot next to her favourite diner. She still always wears her Olympic Team USA tracksuit from 2004 – and after an injury ended her gymnastics career, she’s embittered that her 15 minutes of fame is way behind her.

With her life stalled, her former coach commits suicide. (I know what you’re thinking: She doesn’t commit suicide because Hope is such a b–ch, but because it’s needed to advance the plot.) She requests, in her will, that Hope coach Olympic hopeful Maggie Townsend (Haley Lu Richardson) to greatness, and if she does, she will get $500,000.

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Not even Haley Lu Richardson’s smile could save this. (Source)

A problem with the film is the fact that Rauch’s Hope Ann Gregory is plainly unlikable. She’s a bratty 30-year-old misanthrope that sincerely acts like she is still 17 years old. The point of the character is for her to be unlikable – but it is never funny.

We first meet the embittered Gregory in an ode to her large ego – in her bed masturbating to the video of her bronze medal win. Her huge ego definitely surpasses her size, and also feels like an ego of a gold medalist – not a bronze medalist. She’s eventually characterized as being scared of being forgotten.

But even with that and a forced love interest, there’s never a moment where where we root for Hope. There was really only one time I liked her on a mild level, when she was teaching Maggie stage presence. She smiles a lot and she is like a different person – which might be why I liked her in that moment.

She’s hard to relate to and she’s mean to her core, a character aspect that doesn’t work for Rauch’s kind demeanor.

The character we’re rooting for is Maggie – depicted as humble and a bit unrealistically innocent. We want her to win because she seems like a genuinely nice girl. Haley Lu Richardson’s performance is super likable and bubbly as the character. Both Gary Cole, Thomas Middleditch and Sebastian Stan round out the main cast – but they can’t even save this turd.

A writing choice at the end of the film turned this from simply a bad film to a disaster for me. It felt like a last-ditch effort to make Hope more likable. Character decisions made me think that the Rauch writing pair either didn’t understand their characters or just wanted to rush the ending. Either way, it made the characters feel more like caricatures of their huge egos – or results of bad writing – than actual people we might relate to.

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Melissa Rauch as a foul-mouthed, bratty bronze medalist in The Bronze. (Source)

The feature has good cinematography (kudos to the only winner here, Scott Henriksen). I liked the gymnastics of it, but we’re treated to more training scenes and not given enough cool scenes when Maggie is actually competing towards the end.

A sex scene between Rauch and Stan is overtly dark, likely to hide the super obvious Cirque du Soleil stunt doubles for Rauch, and quickly edited and a weaker aspect of the cinematography.

But the coitus feels longer than Maggie’s final display of gymnastics. It threatens to take over the rest of the film in terms of memorable raunchiness – which is saying something.

There’s a lot of raunch from the Rauch couple, but I think the only time I even chuckled was when Ben was having a bad twitch. Otherwise, I was questioning why it was billed as a comedy.

The film itself is mean-spirited overall, with Hope’s actions against everyone. But kudos to Rauch for branching out from her sitcom fame and bringing another unlikable, female antihero asshole to the big screen – as they’re so often portrayed by men. But it just isn’t funny, which is particularly disappointing.

It has none of the (slight) charm that worked for Jason Bateman’s Bad Words. I think that worked to a degree because Bateman actually has the comedic ability and sarcastic wit to believably portray a foul-mouthed, grown up spelling bee contestant.

But with The Bronze, Rauch doesn’t sell it. The language is raunchy, but it doesn’t make it funny. She isn’t believable as being foul-mouthed or aggressive – she looks too innocent. It really fails in almost every aspect and it’s a box office disaster for good reason: It sucks.

Score: 30/100

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The Brothers Grimsby (2016)

The Brothers Grimsby, poster

Released: March 11, 2016. Directed by: Louis Leterrier. Starring: Sacha Baron Cohen, Mark Strong, Isla Fisher. Runtime: 1hr, 23 min.

I’m a huge fan of Sacha Baron Cohen’s work in Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan – the titular journalist character is rather brilliant. And his creation of the character Ali G was also quite funny.

His comedic work really makes him a unique figure, but he hasn’t made a great comedic character since Borat – as both the titular character in Brüno and Aladeen in The Dictator were hit-and-miss.

With Nobby Butcher in The Brothers Grimsby, he creates another hit-and-miss character – but at least gives him some stronger development. Nobby is a drunken football hooligan cheating the welfare system, living in the poverty-stricken town of Grimsby, cheering for his main team England.

When he was a kid, he was separated from his younger brother Sebastian through Grimsby’s orphanage system. Sebastian (Mark Strong) is now the top agent of MI6, on assignment to prevent the assassination of philanthropist Rhonda George (Penelope Cruz), and to uncover a huge terrorism plot by a group called Maelstrom.

When Nobby is able to get tickets to the charity ball and reunite with his brother after 28 years, he hugs him which causes Sebastian to miss his shot on an assassin (Scott Adkins) and hit a spokesperson instead. This mistake causes the other MI6 agents to think he has gone rogue – and Nobby and Sebastian are forced on the run.

The Brothers Grimsby - Hug it out

Grimsby is another addition to the cannon of unlikely people finding themselves in bigger-than-themselves spy missions as a spy, like Johnny English and Spy. While the world created here is a good base for Nobby’s hijinks, he is nowhere near as amusing as Rowan Atkinson’s Johnny English or as hilarious as Melissa McCarthy’s Susan Cooper in Spy.

The story is a bit heartwarming with the brother dynamic but the really raunchy and often gross-out humour rarely hits. The action set pieces are pretty good, well-filmed with Louis Leterrier’s style of direction.

The film is at its most effective in terms of comedy when Nobby is making awful decisions – but humour is ineffective when they hide away from government assassins inside of an elephant, and get stuck in there during mating hour. Yuck.

One masterwork of Grimsby is the casting of Mark Strong. It feels like he could be cast as an actual MI6 agent in a spy franchise so that’s what helps create a believable world. He does his job as the straight man for Nobby’s jokes, even though Nobby’s humour never really hit for me.

At least the film doesn’t stick around for very long. The only part worth rooting about is Donald Trump being the butt of a joke. He’s horrendously rendered via CGI, and there’s a really bad stand-in Daniel Radcliffe as well, but those are really the only jokes that hit for me. And the fact that Nobby’s look is based off of Liam Gallagher’s look is amusing.

Score: 40/100

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Miracles from Heaven (2016)

Released: March 16, 2016. Directed by: Patricia Riggen. Starring: Jennifer Garner, Kylie Rogers, Martin Henderson. Runtime: 1hr 49 min.

Thank you, Miracles from Heaven, for finally showing me why I haven’t been thoroughly entertained while going to church all these years.

It’s because there’s never been a Christian rock band at my church to get me in the spirit of things. Apparently they have all the fun in small Texas towns.

Miracles from Heaven, based on the memoir by Christy Beam, follows the Beam family in Burleson, Texas, as the 10-year-old daughter, Annabel (Kylie Rogers) is diagnosed with a rare digestive disorder for which there is no cure.

The family prays for a miracle and it gets answered in a big and rather bizarre way. If it wasn’t a true story, it would be pretty far-fetched, but I won’t spoil it here in case you haven’t seen the trailer. The film is really about the journey and perseverance throughout the disease, and her mom Christy’s (Jennifer Garner) perseverance into getting Ana the best help available.

Garner is great as the mom in an emotionally powerful performance – crying her way through the film, but doing so in a believable way. She may cross the line of crying one too many times – as it seems like she could have filled a Jacuzzi with her tears. Kylie Rogers as Ana also holds her own very well.

The power is in the characterization, as well, and the fact that the pain her daughter is going through makes Christy question her faith. There’s a laughable moment where people at her Church ask if Ana hasn’t been cured yet because of the family’s sins. It’s laughable for me, but evidently not for Christy.

Anyway, faith is a big thing touched on the film, to a point where it is, admittedly, preachy, but not in the same proselytizing way God’s Not Dead is – trying to force the beliefs down its audience’s throat. That’s the difference between God’s Not Dead’s really bad writing and the fact-based writing of Miracles from Heaven that goes between melodrama and some strong heartbreaking and emotional moments.

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Queen Latifah, Kylie Rogers and Jennifer Garner in Miracles from Heaven. (Source)

There’s really just something works about this movie by the end of it all. It’s charming and Eugenio Derbez is amusing as Dr. Nurko and balances entertaining Ana and being a serious doctor dude well, even while wearing an Elmo tie. Queen Latifah is also quite a welcome player in the film, adding a lot of humour.

Martin Henderson is a good supporting player as Ana’s father, he adds a sense of optimism to the film, actually thinking everything will be okay. There’s a lot of money troubles since he’s started a new animal clinic business and they had to put all of the home’s equity into it.

That adds a new element to the film. He’s working and taking care of his two other daughters, the youngest Adelynn (Courtney Fansler), and the oldest daughter Abbie (Brighton Sharbino, TV’s The Walking Dead). They don’t get as much characterization as Ana or Christy, which is okay since those two are the core, but there could have been a bit more effort to make the supporting players have more dimensions.

The film’s cinematography is strong, and the sequences in Heaven look nice – there are a lot of bright colours and lots of butterflies. It looks unique enough, basking in outdoor settings instead of a Church like in Heaven is for Real. The two films share producers T.D. Lakes, Joe Roth and Derrick Williams.

I think this was more effectively handled having the miraculous happening a bit after the halfway mark instead of Colton Burpo in Heaven is For Real having his near-death experience at the beginning. That film’s main conflict was the skepticism of it – but this has a more natural conflict of a longer lasting disease. The skepticism is touched on really just once in Miracles from Heaven and then is forgotten with one of the film’s most moving moments.

I did like the aspect of the film that suggested miracles aren’t always huge, but can sometimes be found in simple kindnesses. The film has a good soundtrack and the Beam family is an inspiration. It’s feel-good throughout, particularly so in the last 25 minutes, which was the film’s strongest area. The journey there takes long, but the pay-off is great.

Score: 70/100

 

 

 

 

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Triple 9 (2016)

Released: February 26, 2016. Directed by: John Hillcoat. Starring: Casey Affleck, Chiwetel Ejiofor, Anthony Mackie. Runtime: 1hr 55 min.

In John Hillcoat’s latest film Triple 9, he brings us into the world of criminals and corrupt cops being blackmailed by the Russia mafia in Atlanta, Georgia, a location that is never exactly clear.

After the criminal crew rob a bank to get to a safety deposit box and Irina (Kate Winslet) doesn’t pay up, the rag tag group of criminals is forced to do another job so a Russian mafia boss can be released from prison.

To perform the tricky job, they have to kill a cop across town to get the police force on the other side of town.

The funny thing about Triple 9 is that the final result is incredibly “meh” but the opening 20 minutes is seriously really awesome. Heist films are really one of my favourite sub-genres. I love the intensity of them.

And Triple 9 had a really great opening, especially the getaway. When they bring out the red smoke with their red clothing and masks looking all like Deadpool; the look of it is super intriguing.

I thought when we learned what they stole – just information from a safety deposit box – wasn’t that high-stakes. But when we learn that the Russian mafia seriously mean hardball, the stakes get higher.

But since the crew are essentially being forced into these jobs, and based on the contents they’re stealing, it doesn’t feel like an honest heist film. It feels like that took a backseat where just general gangs, crime on the streets and corruption drive the car.

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Chiwetel Ejiofor, Aaron Paul, Clifton Collins Jr., and Anthony Mackie in Triple 9. So. Damn. Dark. (Source)

There’s one totally enthralling gang bust scene in the film and that, and the beginning, are the high points. Otherwise, it feels super mediocre. There is a lot of carnage and violence that makes it look ultra-stylized but the writer, Matt Cook, who is writing his first feature film screenplay, seems to be looking for a point throughout.

He never seems to be able to find strong pacing in the feature and it’s a bit confusing at times. The characters also aren’t interesting enough to engage us in the end. The cast is super impressive, however. Chiwetel Ejiofor heads the criminal team as Michael Atwood, a career criminal and family man.

Norman Reedus (Darryl from The Walking Dead) and Aaron Paul portray brothers Russell and Gabe Welch, respectively, and we don’t get much time to know Russell and Gabe is an annoying, rattled and paranoid druggie. The emotional range isn’t much different than how he portrayed Jesse on Breaking Bad.

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Norman Reedus in Triple 9Source

Clifton Collins Jr. and Anthony Mackie round out the corrupt cops as Franco Rodriguez and Marcus Belmont, respectively. Casey Affleck is a focal point of the film as Casey Allen, a new-to-the-streets cop and Belmont’s new partner.

Kate Winslet’s Irena is super uninteresting and just shows that she should never don a Russian accent ever, ever again. The accent is awfully inconsistent and she just phones everything in. Woody Harrelson is the lead sergeant Jeffrey Allen on the bank robbers case, sporting false teeth – but the drunkard adds a cool investigative aspect to the film. All of the characters, though, are restricted to very basic profiles.

It’s a well-acted saga of police corruption and blackmail, and the violence is well done.  But as far as technical aspects go, the film looks terrible. It’s super murky and downright hard to look at. Even in pure daylight – it’s far too dark.

When they’re inside, it looks like the budget couldn’t afford electricity of any kind. When you can’t see anything, it’s hard to tell what’s happening in the story. This contributing element makes it more average.

Score: 50/100

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Gods of Egypt (2016)

Released: February 26, 2016. Directed by: Alex Proyas. Starring: Brenton Thwaites, Nikolaj Coster-Waldau, Gerard Butler. Runtime: 2hr 7 min.

Big-budget films as bland as Gods of Egypt should have no business over=passing a two-hour run time, but somehow, it feels the need to do so.

After the Egyptian God of air Horus (Nikolas Coster-Waldau of TV’s Game of Thrones fame) is about to be crowned the new king of Egypt, Gerard Butler’s Set, the god of Darkness, comes into play.

He breaks up the party in such a fashion that he kills his own brother Osiris (Bryan Brown) and then fights Horus, takes over the throne and removes his eyes – the source of his all-seeing power. Wicked.

Skip ahead to the slaves working for Set and him killing any God that does not bow to him, in an attempt to take over all colonies and reach ultimate power.

The film itself follows Bek (Brenton Thwaites), a mortal thief who steals one of Horus’ eyes back so that Horus can see and can take back the throne, and his free his wholly believing gal Zaya (Courtney Eaton) from slavery.

Bek and Horus, sporting an eye patch for the majority, venture through the landscape in an attempt to get the throne back. And Set wants to do whatever he can to stop him.

It’s a very traditional and a predictable storyline that’s not compelling. It’s quite boring, and the story is so tedious it becomes exhausting by the hour-mark. We basically know how it’s going to end and it’s not a thrilling ride to begin with.

The characters themselves are dull. There’s not enough depth for Bek to particularly root for him, and Thwaites just puts in a performance that never really goes anywhere in terms of emotion. Gerard Butler is unlikable here so that’s good for the character and he is convincing in that sense.

But he’s not great as a bad guy because he’s better as a bad-ass action hero; and just because he donned sandals and fought for Sparta in 300, doesn’t mean he should be cast in so many of these flicks.

He’s also a bit of a ridiculous caricature of an Egyptian ruler. He never really uses his army at least against Horus, and he flies around on huge beetles. It’s hard to take him seriously when he’s doing things like that.

Coster-Waldau doesn’t have enough presence to head the film well as a secondary hero. He really does need the presence since these Gods are supposed to be about nine feet tall and the camera angles and forced perspective sell the height, making humans look like Hobbits in this world.

Gods of Egypt

Gerard Butler as Set in Gods of Egypt. (Source)

They reach heights of about twelve feet when they turn into a “battle beast” form, so they feel like Power Rangers in that way, forming into something just to fight.

But Horus is basically a total jerk. When Bek brings him his eyes, he tries to kill him because he doesn’t want to bargain for his eyes. When he does get his eye, he starts to choke him. He comes off as unlikable and just ungrateful at times.

Courtney Eaton and Elodie Yung deliver okay performances in their respective roles, Yung as Hathor, the goddess of love.

Chadwick Boseman is okay as the god of wisdom Thoth. There are bizarrely multiple Thoth’s in a scene which gets a bit distracting. Also bizarre is how the film gives an R-rating a dodge because – even though a god tears out another’s eyes – it managed to show a lot of blood. But they made that work by having the gods spill golden blood, which is stupid in itself.

In terms of the films “whitewashing,” casting the majority of Egyptian characters as white people, the film should have learned from the criticisms Exodus: Gods and Kings faced. But Proyas didn’t learn a thing, and the joke’s on him because the film is going to have to make all of its money back in foreign markets.

The action set pieces are alright but hectic editing distracts, and there’s not imagination on display from director Alex Proyas. The dude is given a bad name for his shitty movies – but I liked I, Robot. But that one had an interesting tale to tell.

The visuals here are ugly, and something that belongs in a video game and not in  film with a huge budget. It’s filmed in a studio and the backgrounds rendered don’t have a lot detail and look even worse in 3-D. There’s a henchman of Set that looks like a mix between the villains from Predators and Jar Jar Binks. And their Anubis is downright hideously rendered.

There are also huge snakes that look awful. It’s just not a pretty film to look at – and if it has such a boring story, the visual effects need to redeem it. But they’re equally as bad – and I’m baffled as to where the $140 million dollar budget went.

Score: 3o/100

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