NekoHomey Purely Joyful Movie!

Ceticultsot Beautiful, moving film.

Frances Chung Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Phillipa Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

shane_holden This movie was a journey that went to a lot of places but still didn't go anywhere. There were good actors in this movie but the dialogue was just comical. The CGI was also in some places like Play-Doh stop motion. It was such a mess this movie that it ended up being somewhat entertaining. Watch it just so you can have a giggle that they spent 140 million making it and have just this to show for it.

OneView Fantasy is very difficult to get right in films. Audience resistance is quite high, especially when it involves characters with difficult-to-remember names or diverse place names. Relating to a fantasy world of beasts and magic is often tricky for audiences who may prefer grounded, realistic drama. There are exceptions though - the worlds of Star Wars and Lord of the Rings captured public imaginations and the complex mass of stories and themes in Game of Thrones also attracted an audience.This fear of fantasy seems to have informed a slightly tentative approach in the writing and direction of Gods of Egypt. There are plenty of fantastic creatures present ranging from giant, vicious snake like creatures to Minotaurs in all but name, and an array of Egyptian gods. However, there has been avoidance of any of the cod Shakespearean dialogue that often permeates works of this type and an emphasis more upon realistic dialogue. This creates a needless tension between the intensity of the innovative visuals and the prosaic words dropping from the actors, a tension that is never resolved as the linear story progresses forwards but never upwards.The pleasures with this film arise mostly from the intensity of the visual experience. Every environment has been precisely designed, full of colour and dimension, looking very different from the landscapes seen in past films based on myth and history. The benefit of this is that there is always something to attract the eye, from great sky barges to rainbow lit waterfalls and massive monuments. Like all Alex Proyas' films the visual ideas add weight and substance that the scripting sometimes fails to.It is however that narrative which brings the film down with a series of very deliberate events extrapolated in excessive detail, burdened by actors who at times look deathly uncomfortable in their roles. Only Geoffrey Rush, in a small but notable part, really excels with so many of the others not able to bring life to the dialogue as they intone in front of ever present green screens. In the end it is a pity that such a wonderfully conceived world at the visual level could not have been combined with a compelling story and acting.

Neil Welch Head God Osiris is about to crown his son Horus king when his stroppy brother Set turns up, kills him, nicks Horus' eyes, and usurps the throne. This regime change leads ultimately to Zaya, the cute and bosomy girlfriend of petty thief Bek, being killed, and Bek trying to motivate the somewhat depressed blind Horus to prevent her from facing oblivion when she is judged in the underworld. The first step is to try to recover Horus' eyes, following which a trip to sun-God grandfather Ra is on the cards.The word "hokum" (loosely defined as "theatrical nonsense") isn't used very much these days, but hokum is exactly what this film is.. Loaded up from start to finish with state of the art CGI, over the top performances (which include some extremely bad acting - no, let's call it "mannered performances" - from Chadwick Boseman and Elodie Yung), straight-faced earnestness from Bryan Brown and Geoffrey Rush, and a story which dips into Egyptian mythology but never lets it interfere with its daft story, it doesn't take itself seriously for a minute, and the commendably straight-faced players convey an underlying awareness of their participation in, well, hokum. And I do like films which are tripe, know they are tripe, and aren't ashamed of it (see also: Drive Angry).I loved the look of this film. The Egyptian mythology feeds into the production design, the fact that these double-sized Gods co-exist with mortals is achieved well (better than in Peter Jackson's Rings/Hobbit films). The action was well-staged, I loved the overall daftness, and I found Courtney Eaton's bulgy cleavage utterly delightful. Most of the other female cast were alluring, also.Grab your popcorn and enjoy some glorious nonsense.

jasontheterrible Now that we have black cowboys and mythical black kingdoms wreaking vengeance on the white man, certain people cannot abide any historical narrative that is actually historical. The most recent DNA evidence in 2017 of 151 mummies shows Egyptians were white for most of their history and Nubian Africans did not contribute genetic material until the last 1500 years. It is a shame that rabid, anti-white racists would rather destroy careers and investments than allow history to be revealed. This movie was so thoroughly trashed, despite being a fantasy, they lost money by making an excellent film.