Gods of Egypt: Mini-review


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Gerard Butler

A less than godly Gerard Butler

C-No one has ever considered Cecil B. DeMille a restrained director or The Ten Commandments an example of storytelling moderation. But DeMille, Charlton Heston, Yul Brynner, and the rest of the Commandments cast seem like a Masterpiece Theater production of Jane Austen compared to Alex Proyas‘ completely goofy, CGI-laden Gods of Egypt

In Proyas’ version of Egyptian mythology, the 8–10 foot tall gods of Egypt had magical powers and actually ruled the country. The evil Set (Gerard Butler) kills his brother Osiris (Bryan Brown), blinds his nephew, the rightful heir Horus (Nikolaj Coster-Waldau), and seizes power. Horus teams up with a human thief Bek (Brenton Thwaites), who recovered one of the god’s missing eyes (don’t ask), to try to regain his other eye and his throne.

Gods of Egypt is a completely nonsensical hodgepodge of myths from around the ancient world, including a Hades-like underworld whose entrance is guarded by the Sphinx. The film plays like a 21st century version of the Italian Sons of Hercules films, minus the cheesy dubbing but with copious amounts of even cheesier CGI effects. None of the actors look the least bit Egyptian (Butler doesn’t even try to disguise his Scottish accent) or show the least bit of restraint. The campiest and most enjoyable performances are by Chadwick Boseman as a fey Thoth, god of wisdom (who requires several do-overs to solve the riddle of the Sphinx), and Geoffrey Rush as a wizened Ra, the sun-god father of Set and Osiris. Gods of Egypt is harmed somewhat by the limitations the PG-13 rating imposed on the amount of blood (the gods actually bleed gold when wounded) and female flesh (courtesy of outfits displaying substantial amounts of cleavage) that could be shown. Still, the film is campy, goofy fun for the first hour. But the CGI effects lack real imagination or quality, and the endless procession of mediocre futuristic sets and giant monsters becomes boring. The Ten Commandments is still an enjoyable four-hour bad movie because it had a simple plot, well-defined characters, and a judiciously sparing use of special effects. The two-hour Gods of Egypt, on the other hand, seems the longer movie because it features a silly yet confusing plot, too many characters, and an increasingly ridiculous over reliance on special effects. As a result, while DeMille’s epic will be with us forever on network TV, Gods of Egypt will soon be entombed with all the other mediocre action films of today. 
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Minions: Mini-review


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Sandra Bullock

Sandra Bullock in scarlet but not in character

B-As every movie buff or child under 12 knows, Minions are those rascally but charming, yellow, pill-shaped, one- and two-eyed critters with goggles who helped the nefarious Gru launch his evil schemes in the Despicable Me movies. Following in the footsteps of the penguins from the Madagascar filmsthese adorable saffron sidekicks have now landed their own animated movie, entitled simply Minions. However, like the penguins, the Minions prove to be best enjoyed in smaller doses.

A brief prologue (narrated by Geoffrey Rush) traces the history of the Minions from prehistoric times, as they continually seek out the most evil villain around to serve. In 1968, three Minions, Kevin, Stuart, and Bob (all the Minions are voiced by co-director Pierre Coffin) arrive at the Villain-Con convention in Orlando in search of a new master. They find one, or, more precisely a mistress, in the world’s ultimate supervillain Scarlet Overkill (Sandra Bullock). The Minions are soon off to London with Scarlett and her husband Herb (Jon Hamm) where Scarlet gives her new henchmen the assignment of stealing Queen Elizabeth’s crown. The Minions soon find that their efforts wind up pitting them against Scarlett herself.

As in the Despicable Me movies, the Minions are always adorably cuddly and fun to watch as they cheerfully engage in Three Stooges-styled slapstick and spout a strange form of half-comprehensible gibberish that mixes English and a multitude of other languages. However, their antics soon become repetitive and, although, the script gives the three lead Minions names, they never become much more than half-formed personalities. The Minions share this latter trait with their human co-stars, especially the Overkills. The script fails to properly exploit the potential of a female supervillain in the highly sexist 60’s; instead, Scarlet winds up being quite generic. In fact, other than lots of great period rock tunes on the soundtrack, Minions fails to really evoke the 60’s at all. Thus, the best running jokes for the adults in the audience are the tunes like “Hair” and “Hey Hey We’re the Monkees” that the Minions manage to mangle in Minionese. Kids, of course, will love the lengthy, drawn out battle between Scarlett and the Minions, especially in 3D, but adults’ patience will probably begin to wear thin, at least until a surprise cameo at the end provides a welcome boost. Like its namesakes, Minions is hard not to like, but adults will be hard pressed to develop any more affection for the movie than for any of the millions of Minions  tie-in products already flooding the market.
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