By Faith Haushona-Kavamba
IT can be argued that there is nothing much computer-generated imagery (CGI) can do to save a movie with a poor plot.
An argument that is true with most films, however it does not apply to Alex Proyas’ Gods of Egypt, which bordered on being another poor reimagining of the fictional Egyptian gods.
The computerised graphics which turn the lead characters animal-headed metal deity forms elevates the film, making it a breath of fresh air in the tired genre.
The plot is not as strong as it could be, and neither is the character development, but those are after-thoughts towered by the breathtaking CGI effects and the hint of a sequel.
Gods of Egypt is set in an alternate universe were the earth is flat and the gigantic deities are distinguished by the great height, gold blood and of course their abilities to transform animal-headed metal forms.
The movie follows a young mortal thief Bek (Brenton Thwaites) forming an unlikely friendship with the god Horus (Nikolaj Coster-Waldau), in hopes that the latter can bring his dead wife (Zaya portrayed by Courtney Eaton) back to life.
In return, Bek vows to retrieve Horus’ eyes, which were gouged out by his uncle, the god Set (Gerard Butler) a year earlier during his coronation and killed his father so he could take over the reins.
The movie’s selling point has to be the fact that Proyas coupled a supernatural topic that has been retold for hundreds of years the same way in essence, with the concept of technology. He turns it into something fantastical and unbelievably surreal, and therein lies its strength.
It has great action scenes, which are not hyper-violent but just entertaining enough to keep one glued to the screen. The movie is reminiscent of the Transformers, so fans of that franchise will surely love it.
The weakness in the plot and telling of the storyline, often overpowered by the action scenes proves one thing, that Proyas’ intention was merely to show the viewers Egypt like they have never seen it before, regardless of whether he remains factually correct or not.
It is hard to over-look that the movie has been white-washed, with the lead roles being to white actors (similar to Exodus: Gods and Kings) however that goes on to prove that being factual was the furthest thing from the director’s mind. It does not take too much away from the movie, but leaves something to be desperately desired.
Still, Gods of Egypt is the best movie on Egyptian deities to date, and one can only hope that the sequel (if there is indeed one) will be just as good if not better.
Confidente. Lifting the Lid. Copyright © 2015