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While watching Exodus: Gods and Kings, we got the distinct impression that the folks behind the movie were working off of two core assumptions. First, that the Bible is a crock when it comes to being historically accurate. Second, that there is no God—or if there is, He’s a little twerp. The key word there is little: in Exodus, God is portrayed as a snarky young boy with a shaved head and accented speech.
Exodus comes down to a war story in which Moses stars as a once famous Egyptian general who attempts to free the Israelites from slavery using guerrilla warfare tactics. It’s utterly absurd, yet it does serve to remind us of how many questions the real Exodus account leaves unanswered. For example, just how did the Egyptians clean up all the dead frogs?
Now if you aren’t well versed in the biblical account, you’ll be very confused about what is happening in the movie because the events are not well explained at all. If you are familiar with the biblical account, you’re going to notice all kinds of problems. Following the pattern of the blasphemous Noah disaster, Exodus uses familiar biblical names to try and rewrite history. It’s actually quite timely, for these days America is working hard to deny that God was ever involved in her history. Why not try to scrub Him out of Israel’s history as well?
The God we meet in Exodus is nothing like Yahweh. He’s more like a ten year old Zeus figure who seems to wake up on the wrong side of the bed one morning and decide that He’s annoyed with the Egyptians. We don’t hear any real concern for the Hebrew slaves—instead, God snaps at Moses for not being moved by the plight of the slaves. We don’t really know why God expects Moses to care, given the fact that He Himself is radiating such a hostile and indifferent aura. In their first encounter—which involves the famous fiery bush—God simply says “I need a general.” Moses asks why. God then snaps, “I think you know why.” Now while it is quite like God to call us out on our hedging games, this God character is ridiculously vague. There is no specific instruction given. He just drops crispy hints then disappears, leaving Moses to wander back to Egypt with a gut feeling that he ought to do something about the slave problem…but what?
But now we’re getting ahead of ourselves. The fiery bush moment doesn’t happen early on in this 2 hour and 20 minute epic. A good chunk of time is spent introducing us to the Moses character, and he is quite likable, despite the fact that he’s a scoffing atheist. You see, Moses has no use for the Egyptian gods, he sees through the phony Egyptian sorceress in Pharaoh’s palace, and he rolls his eyes at anyone who claims to have faith in a higher power. So what does Moses believe in? Apparently his own brain and brawn, and he has a good supply of both.
Moses believes he is the son of an Egyptian war general. This means he’s not in line to inherit the throne when king daddy dies. That privilege will go to the blood heir, Ramses. Now it’s typical for Exodus movies to portray Ramses as having unresolved emotional problems. This newest rendition follows suit. Moses is clearly the Pharaoh’s favorite son, and with good reason. Moses has class (in a barbaric sort of way), he has wisdom, and he is fiercely loyal. He knows his place and he’s content to be second in command. Ramses, on the other hand, is portrayed as a jealous brat. His hostility is an obvious attempt to compensate for the real issue that’s gnawing at him: he doesn’t feel loved. He’s never felt loved, in fact, and he makes this clear many times throughout the movie. Ramses is the classic tragic character—the fellow who lets his wounded heart consume him until he can’t tell his friends from his enemies. Although Moses is sincerely devoted to serving his brother, Ramses keeps searching for signs of betrayal. When the phony Egyptian sorceress puts out a prophecy which Moses appears to fulfill by dramatically saving Ramses’ life in battle, Ramses feels all the more threatened that Moses is going to outshine him somehow.
Meanwhile, there is trouble with the Hebrew slaves. When Moses goes over for a routine check on how the slaves are being managed, he finds a power hungry Egyptian official living like a king while he complains of the Hebrews procreating too quickly. Being the fair, levelheaded leader that he is, Moses doesn’t just believe rumors of the Hebrews planning a revolt. Instead, he tries to interview some Hebrew elders to get a feel for their level of patriotism. One thing leads to another and soon Moses finds himself standing in the cramped quarters of one Hebrew elder’s house listening to a preposterous story of his real origins. Now in the movie, Moses, not Aaron, is the eldest boy. And even though Miriam is supposed to be significantly older than him, she looks younger.
Well, Moses doesn’t believe this guff about being the son of a slave. But on his way out of the slave neighborhood (which is never referred to as Goshen), he gets hassled by a couple of Egyptian guards who mistake him for a slave. Not one to abide bullying, Moses lashes out at the two men and kills one of them. In the Bible, the real Moses murdered an Egyptian in order to protect a Hebrew slave who was being abused. In the movie, Moses just shows his short militant fuse and kills instead of trying to clarify a reasonable mistake in identity.
Now the Egyptian official in charge of the slaves doesn’t like Moses. Moses instantly saw through the man’s shenanigans and Moses has the power to remove the official from his lush position. So when an opportunity comes to smear Moses’ reputation with Ramses, the official seizes it. Once nice Pharaoh dies and troubled Ramses is safely on the throne with Moses as his top advisor, the sneaky Egyptian official slithers on over to the capital city of Memphis to spread the rumor that Moses was born an icky slave boy. Moses doesn’t believe it. Ramses doesn’t want to believe it, either, but his paranoia gets the best of him. When Moses heroically protects his sister Miriam (who works in the palace) from being maimed by a hotheaded Ramses, Ramses reacts by exiling Moses to the desert where he’s certain to die. This suits the queen mother just fine—she’s hated Moses from day one. But Ramses is torn—part of him senses Moses is a threat while the other part hides Moses’ sword in with the bedroll on the saddle of his horse. So now Moses is stranded in the wilderness with a horse, a bedroll and a sword. Can our resourceful general survive such a hostile environment? The camera sweeps along the terrain to give us a good grip on just how barren the wilderness really is, and it’s a good reminder that when Yahweh really led the Israelites into the desert, it was a desert. It was not fun. It was hot and there was no water in sight.
One good thing Exodus does for us is that it reminds us just how barbaric and brutal these times were. Everyone’s hacking everyone else down with their swords. Slaves are getting whipped. Rulers have absolute authority. No one has any spiritual center—they all just seem lost. Everyone but Moses, our confident atheist. This Moses isn’t anything like the man who told Yahweh “Please choose someone else.” Fictional Moses has no problems speaking to kings or anyone else. He comes across as a self-made man: full of confidence and a can do attitude, even when the odds are stacked against him.
But then again, when your horse finally keels over and dies in the middle of the desert, what can you do? How can our dehydrated, exhausted hero possibly press on without his loyal beast? Did we mention that the man was supposed to be exhausted? How then, does he muster the strength to spring to his feet and duke it out with two assassins who were sent by the queen mother to finish him off? It’s amazing what the screenplay writer will do for you when you’re in the hero role. Suddenly our man is riding briskly through the desert with double supplies: the two horses he stole from his would-be assassins. He then comes to the Red Sea—only it isn’t a vast body of water, its shallow straits which he easily crosses. At last he meets up with the daughters of Jethro who are trying to water their goats when a band of troublemakers shows up. Happily our hero Moses exudes death and danger even in his exhausted state. With merely an icy “don’t mess with me” glare and a hand on the hilt of his sword, he sends the band of troublemakers packing. This of course gets him in solid with the daughters, and the next thing we know, we’re at the wedding. A very brief love scene follows, and happily the director of this movie decided that he has no time for sex and nudity.
Hit the fast-forward button again and we find Moses with his young son talking about a sacred mountain where God lives. You see, Moses’ wife believes in a God that Moses has never heard of, and she’s teaching her son to align with her faith. That’s fine with Moses, but he can’t help scoffing when the boy talks about a sacred mountain. The next thing we know, Moses is hiking up that sacred mountain trying to catch up with some rebellious sheep. When a rock slide randomly starts, the obvious implication is that God doesn’t like mortals invading His sacred territory.
Now the rockslide that God sends is utterly ridiculous in that Moses would have been pulverized. We even see one very large boulder strike our hero in the skull. But alas, man sized rocks can’t keep our hero down—it would take something like thick muddy sludge to pin Moses to the ground, and that’s exactly what we find him trapped in when the scene changes. Moses looks like a man whose been buried on the beach, only instead of sand, it’s some kind of thick sludge. Only Moses’ face is showing—he’s cemented to the ground and unable to move. Cue the burning bush, and suddenly the child God appears. Moses asks for help—well, it’s more like he demands it. But God would rather play with a set of shiny black square rocks while he makes terse comments about needing a general to deal with the slave situation in Egypt. The whole thing is very vague. There’s no “Take off your sandals, this is holy ground.” There’s no instruction about speaking to Pharaoh, or predictions of plagues. It’s just “Go back to Egypt and figure it out.” Hm.
We don’t know how Moses gets out of the rock cement. We don’t know how his skull is still intact. But after a very tense parting with his wife and son, he heads back to Egypt and tracks down the Hebrew elder that he talked to before. The abuse of slaves has increased during his long absence. So many slaves are dying every day that their corpses are being burned concentration camp style in large fires. Meanwhile, back at the palace, a troubled Ramses has a baby boy who he is very bonded to. So bonded that he keeps panicking that the boy is dead. We see him rush to the child’s crib and listen for the sound of breathing. When he hears it, he sighs in relief and says, “You sleep well, my son, because you know that you are loved. I never slept well when I was a child.” These are obvious attempts to set us up for trauma later on because we all know what that last plague is going to involve.
Speaking of the plagues, where are they? They aren’t happening. Moses is busy trying to save the slaves his own way, which means relying on brilliant military instincts. We aren’t told how a bunch of slaves rustle up the raw materials to make a bunch of weapons, but we see them hammering away at swords and spears in a massive underground preparation. And how they sneak off undetected to do military drills with commander Moses is another mystery. But soon Moses has got his strike team ready and it’s time to bomb Egypt. Yes, bomb. We might be in ancient times, but that doesn’t mean we can’t pour oil all over the ground, light it up, and cause a massive explosion in the Egyptian supply bunkers. How satisfying: the slaves struck back. But victory is short lived because Ramses reacts by sending his troops in to set fire to the slaves’ houses. More knifing, more screaming, more dying. This movie is long on carnage, but it’s light on gore. We don’t have to endure blood splattering everywhere, we just have to see reams of people falling over with blades sticking out of them and many people screaming while they dance around engulfed in flames.
Once Ramses figures out that Moses is back in town, he starts demanding that the slaves hand him over. But the slaves show fierce loyalty to Moses, refusing to divulge his whereabouts. In response, Ramses starts a daily tradition of publicly hanging Hebrew families. The hanging scenes are dramatic and gross and there are way too many of them. Meanwhile, we’re wondering when Moses is going to get a clue and realize that he’s fighting a losing battle.
On several occasions, Moses sneaks off to try and get some help from God. When God shows up, Moses is the only one who can see him. But God doesn’t always show up—a theme many of us can ring with, even though it doesn’t fit in a retelling of Exodus. In real life, Yahweh met with Moses after every plague and He always provided specific instructions to guide His man. Yahweh was also very clear about His purpose: to prove to the Egyptians and the Jews that He was God Almighty. We don’t get any of that in the movie. When snarky boy God finally does show up, it’s only to tell a frustrated Moses to stop his attempts at freeing the slaves. It’s God’s turn to take a stab at it. “Just watch,” God says.
At long last, here come the plagues. They are not introduced or explained. Instead, they are rushed through, and some of them are left out. We don’t see the darkness or the gnats. Nothing is introduced the way it actually happened with Moses tossing dust into the wind or Aaron striking the Nile with his staff. And by the way, in real life Moses was 80 and Aaron was 83 when the first plague started. In the movie, they are both young bucks. Ah, the American lust for youth.
We get the feeling that the director is in a hurry to rush through the plagues so he can justify the movie’s title. After boy God’s vague comment that Moses should stand back and watch Him work, we’re suddenly transported underwater in the Nile River where a swarm of massive crocodiles appear out of nowhere and start attacking Egyptian fishermen in their boats. The crocodiles leap up on the boats and grab people by their vulnerable parts (and everything is vulnerable when a crocodile is coming after you). Why does the Nile turn red? Because of all the blood spewing out of the crocodiles’ victims: this is the explanation the movie gives. Later on an advisor to the pharaoh adds that the crocodiles stirred up massive amounts of silt. Now once the water turns all nasty, of course the fish die. We get a few seconds of gross fish corpses before frogs start piling out of the river. Some good shots of an epic frog plague quickly change into dead frogs covered in maggots and flies. Lots of flies. Suddenly there are flies everywhere, and then everyone’s covered in gross looking boils. There are no scenes of sorcerers trying to duplicate the plagues. There are no confrontations between Pharaoh and Moses. And here’s the real pip: all the Hebrew slaves are getting pummeled by the plagues as well. In real life, God miraculously shielded the slaves from the plagues in their home area of Goshen. Here our atheistic director lets the Hebrew slaves have it full on. They’ve got the boils. Their animals are also coughing up blood and collapsing during the livestock plague. (That’s backwards by the way—in the Bible, the livestock plague happened before the boils, and gnats came before the flies.)
Okay, so everyone’s looking bad and feeling worse. Happily Moses doesn’t have any boils on his face—hey, he’s the hero. But he’s not pleased with God’s methods and during one of their very brief meetings, he complains, “Just who are You punishing?” There’s no answer, we just get locusts, during which Ramses is told that his people are starving, yet he responds with indifference. When desperate Egyptians try to raid the royal grain storage, Ramses has them slaughtered by archers.
Well, this just isn’t going anywhere. Moses is annoyed and frustrated. When boy God decides to show up again, He finally explains what He’s about to do before He does it. We don’t hear the explanation, but we do see Moses sneaking into the palace to try and warn Ramses that his child is in danger. Moses tries to get Ramses to free the slaves, but Ramses just doesn’t care. The next thing we know, Moses is back in slave land, telling everyone to spread lamb blood on their doorways. Not because God said to, but because Moses has a hunch. “If I’m wrong, we’ll pity the lambs,” he says. “But if I’m right, we’ll bless them forever.” Wow, that was weak. The word “Passover” isn’t even mentioned, nor does Moses describe what is coming. There is no getting packed and ready to leave, no special meal prepared. It’s just business as usual, but we’re smearing blood on the doors.
An aerial view shows us darkness sweeping over the land, but it isn’t the plague of darkness because there are still lights in the sky. Apparently this is supposed to be the angel of death—only there’s no explanation. At one point, boy God makes the night instantly turn to day (that was random), but the darkness is unexplained. The plague of darkness is cut from the movie (along with the plague of gnats) and what we get instead are a bunch of scenes of children who suddenly stop breathing. It’s a good effect, and we can’t help feeling bad for poor paranoid Ramses when his very cute little boy gets it.
The next thing we know, Ramses shows up in slave land holding the corpse of his son. He shouts at Moses to get out. The slaves leave amid a shower of curses from the Egyptians. Now in real life, Yahweh caused the Egyptians to look favorably on the slaves and give them all kinds of supplies. In the movie, the Egyptians hate the slaves and can’t see them leave fast enough.
We don’t know why Ramses suddenly decides to go after the slaves, he just does. He hops up on his chariot and goes in hot pursuit with his army. Meanwhile, Moses is days ahead in the wilderness with his mob. He plans to take them on the same route he traveled previously—across the shallow straits of the Red Sea. But then he gets lost. Seriously. He has no idea where he is. When he sneaks off to try and get a clue from God, God doesn’t show up. Once again, our hero must save the day. He looks over at a mountain pass that he hasn’t traveled before. Someone told him it’s a quicker route, and he’s hoping it will be too hard for Ramses to bring his army through.
Well, the mountain pass is certainly quicker, but when Moses reaches what looks like an ocean beach, he realizes he’s made a mistake. The Red Sea is a formidable body of water with large waves crashing down. There’s no way they’ll make it across. Cue the group meltdown.
Meanwhile, the not so bright Ramses is racing with his chariot army across very narrow mountain roads. We see those wooden wheels slipping off the edge of the tight path. Ramses’ second in command cues him to stop, but of course Ramses never has learned to listen to wise advice. Cue the landslide, and down go most of his chariots.
Back on the beach, Moses is having a faith crisis…sort of. He doesn’t really have faith because he clearly doesn’t know who God is. So far he’s been relying on his own brilliance to get him through. The man is naturally brimming with confidence, and earlier on our director tried to set up a teensy character flaw in our fabulous hero by having Moses shout at God that he wouldn’t be humbled. That was during a moment when God was refusing to show up and offer some much needed direction. Now on the beach, Moses pulls out his signature sword and says something to the effect of, “I guess I’m not everything I thought I was.” He chucks the sword into the sea—because that really helps in a situation like this—and apparently we’re supposed to think this was a moment of growth. It might have worked if we thought Moses had a personal relationship with God, but since he doesn’t, it just comes across like a typical meltdown that a man goes through when he feels hopelessly doomed. The camera dives underwater to show us the sword neatly lodging itself in the sand, and just when we’re thinking, “Please don’t tell me the sword magically makes the waters part,” everyone takes a group nap. It’s been a long trek, after all.
At this point, the movie has already bombed, but there’s still hope for a grand parting of the sea. But apparently our director feels that that would look too miraculous, so instead all he gives us is wind and a lot of seagulls. We don’t understand the point of either element until we notice the hilt of Moses’ signature sword poking up through the water. We now realize why Moses chucked his sword into the water: because the director wanted to use it as a visual cue to help us figure out that the water level was lowering. We certainly need all the help we can get, because this is the lamest parting of the sea we’ve ever seen.
Moses wakes up from his nap as confused about the seagulls as we are, then he sees his sword and slogs out into the water to retrieve it. There are no massive walls of water—the Red Sea has just become shallow. Moses suddenly gets an “I think I know what’s happening” look on his face, then he starts shouting at everyone to start slogging through the shallow waters. The group resists and we hear some of that famous wilderness griping. Moses shouts out something like, “You’ve honored me with your faith, now I will honor you with mine.” Wow, really? Then he shouts, “God is with us!” at the top of his lungs to get everyone to start hustling. Given who God is in this movie, it’s surprising that line is a motivator, but it’s better than being chopped down by the Egyptians. Cue a large mob of ex-slaves slogging through water that’s nearly up to their waists. What happened to crossing over on dry land?
Well, the water line keeps lowering and soon we’re down to just sand and rocks. We still have all the seagulls, and we never do know why, but hey, this is a movie that’s full of unanswered questions. Apparently the gulls were supposed to be after fish which got exposed by the lowering water levels. But the water lowers so slowly that unless the fish were strangely crippled, they would have easily been able to escape exposure. Plus we don’t see the gulls doing a lot of diving, they’re just endlessly circling. Okay, enough with the gulls.
Ramses finally makes it to the beach with what’s left of his chariot army. At this point his second in command isn’t thrilled about continuing the pursuit, but with no walls of water to deter them, why not? We get the impression Ramses has never been to this place before so he doesn’t realize what’s wrong. Off he charges. Miles ahead, Moses gets word that Ramses is in pursuit and—wait for it—Moses turns his horse around and starts riding back to meet Ramses in the middle of the ocean floor. Really?? And just how long was he expecting that conversation to last?? Meanwhile, the sky is looking ominous. Several funnel clouds drop down with no purpose or function, but they look cool. Suddenly a huge wall of water appears out of nowhere and is rushing towards Ramses and Moses. Just one wall, mind you, not two. This movie is on drugs.
At this point the characters would have to be blind not to see the epic wall of water barreling towards them. Ramses’ second in command tells the army to turn back and they start to book it out of there, but hotheaded Ramses just has to keep going. Idiot Moses has to keep riding back to meet him. The two brothers meet in the middle of the Red Sea’s floor for an unproductive glaring session. The epic wall of water is barreling down on them. The tornado funnels are doing their thing in the background. The gulls are flying. This really isn’t the moment to work out personal differences.
Moses urges Ramses to come with him—maybe if they hurry, they can beat the wall of water. Ramses wastes valuable seconds mulling the idea over with major attitude on his face. Then he finally whips out his sword and starts galloping towards Moses. His murderous intention is clear. Good thing the man crushing wave gets there first. Down they both go under an epic wall of water. A camera dives underneath to show us Moses’ skull colliding with a huge rock. We wonder if our hero’s steel skull can possibly survive another beating. We also wonder how quickly followers of Judaism would lynch the director of this movie if they saw him kill off Moses in the last scene. Does the man have no fear of the wrath of religious people? Apparently he does have some, because a short time later, we see Moses crawling out onto the sandy beach. The tidal wave might have killed his horse, but it was no match for the man with the metal head.
What about Ramses? He makes it too, and we see him standing on the other beach with just a little sand on his cheek. His entire army might have sank beneath the waves (we see underwater footage of them drowning) but hey, just because Ramses was much farther from the beach than they were, it’s a cinch that he floated ashore while they all died, right? You can’t overthink this movie.
Ramses’ final words are a feeble, “I am Ramses…the great.” Then we go back to metal Moses and his troop of Hebrew freemen. He leads them on to his humble desert home, where he reunites with his wife and much older son. We get another clean bedroom scene in which Moses and his wife say that they are the most important thing in each other’s lives. So much for loving God first. But we knew Moses’ wife couldn’t have been all that dedicated because when Moses left her the first time she said she would give up her faith to keep him. That’s right, throw God out the window in order to keep the human. But the God in this movie is nothing more than an aloof, brooding stranger, so we can see why people are quick to dump Him.
Just when we think our suffering has come to an end, alas, there is more. Moses now takes it upon himself to lead the Hebrews to Canaan. Why? Apparently he has nothing better to do. Suddenly we do a major time jump and snarky boy God is looking down from a mountain path at the Hebrews wigging out over a golden calf far below. If you blink, you’ll miss seeing the large calf idol standing in their midst (it isn’t very golden). If you don’t know the real Bible account, you won’t know why God has such an irritated look on His face. But never mind, God heads back into a rock cave where He’s making tea for Moses. He pours Moses a cup. Meanwhile Moses is busy chiseling into rock what we’re supposed to just know are the ten commandments. A brief exchange happens in which God announces He has lost interest in the Hebrews, so He’s going to abandon everyone and go on to other things. He says the laws that are being chiseled by Moses will be sufficient to guide the people. Moses agrees and keeps chiseling. God looks pleased. We roll our eyes. Can this movie get any stupider? Yes, as a matter of fact it can. Because now we see Moses riding in some random covered wagon—he’s actually inside the covered part so he’s surrounded by sheets that he can’t see out of. In there with him is a box. It’s too ratty looking to be the Ark of the Covenant, but we get the feeling we’re supposed to think it is when Moses reaches back to carefully steady it after the cart is jolted. But to be fair to the director, maybe it’s just a box with the ten commandments in it. And why did Moses write them on stone when he could have written them on one of the many animal skins in this movie? Since it wasn’t God writing on the rocks, the whole thing just seems ridiculously impractical.
As he jounces along, Moses then catches a glimpse of boy God through a crack in the wagon’s sheet curtains. Now wait—we thought God said He wasn’t coming on this journey. Moses pulls back the curtain to have a better look. Boy God is walking along with the crowd. When Moses looks out at Him, God smiles, then stops, letting the crowd stream past Him until He disappears from view. The point: God is now leaving them all to fend for themselves. Cue the end credits, and we’re glad we spent 140 minutes of our lives watching this fine film.
So clearly this movie is a waste of time, but is there any useful lesson we can squeeze out of it? There actually is. When God struck the Egyptians with ten plagues in real life, He was very clear about why. He had a specific demand. If that demand was satisfied, the plagues would stop. This created some sense of control for the Egyptians. They didn’t use it like they should have, but the fact that God was so communicative set a very different tone to the whole event.
What’s coming at us in real life is the end times. Unless you die very soon, you’re going to be alive when God starts rolling out His final judgment period. Now God always has reasons for what He does, but this time around things are going to feel a lot more like the plagues in the Exodus: Gods and Kings movie. There won’t be a bunch of explanations being passed down from God to man about why He’s unleashing specific horrors on our heads. There won’t be nice long rest periods in which we can collect our senses and clean up the damage. When God starts the end time period, He is going to be slamming us with terrifying displays of His power and no one is going to feel in control. God isn’t going to say, “If you do such-and-such, I’ll back off.” There won’t be any bargaining or any demands that we can meet. This makes for a much more fearful situation—one in which it will be very easy to start viewing God like an indifferent jerk who has abandoned His people. This is why it’s so important to theologically prepare ourselves for what’s coming while there is still time. God is good. He does love us, but staying connected with these truths isn’t going to happen naturally. We will need to be ready to exercise our trust muscles when God starts His end time terrors, and to help us with this, God has given us some important information up front about why He will be acting so violently (see Preparing for the End Times: Understanding God’s Motivations).
The characters in Exodus: Gods & Kings show us everything we don’t want to be. Moses’ wife is a religious woman whose faith offers her no comfort in a time of crisis. Ramses and his father are groping around in spiritual darkness, wondering if their gods are anything more than cultural traditions. The Hebrew slaves clearly root their faith in a human savior instead of in God, and Moses mistakenly believes that he is savior material. Even after his supposed conversion to faith, Moses continues to wing it, relying on himself instead of God and setting out on meaningless missions in order to have a sense of purpose in life.
The God in this movie is an indifferent, unhelpful personality who only shows minimal interest in humans when He happens to be passing through their corner of the universe. It’s a very grim, faithless story that was clearly put out by people who have yet to find God in their own lives. But this is not who we are. As serious Christians, we know the truth, and we have met the real God. He is not a myth that has been passed down to us through ancient manuscripts. God is real, and He is with us at all times. He is guiding our steps with great purpose, and He has a specific plan in mind for each of us. We do not have to drift through life wondering what our purpose is and relying on our guts to get us through. Unlike the sad characters in Exodus, we are not alone in this universe. We are creatures who are dearly loved by their Creator, and no matter what is coming in our future, we can count on Him to get us through. God will never leave us. He will never tire of us or simply fade out of our lives. We are safe in His grip, and because we know Him, our lives are filled with meaning and hope. If anything, Exodus reminds us of how rich we really are. We could be as lost as the people who made this film. But because of God’s grace, we are not lost. We have been found, and our future is gloriously bright.
Saving Egypt: The Story of the Ten Plagues