Film Review: ‘Gods of Egypt’

This extravagantly silly ersatz epic has a lunatic conviction you can't help but admire.

At a certain point in “Gods of Egypt,” an extravagantly silly foray into Afroasiatic mythology from the director Alex Proyas, one wounded deity begs another to show him mercy — a futile request as far as his enemy is concerned, but one that may strike a more receptive chord with the compassionate viewer (which is to say, any viewer who would buy a ticket to “Gods of Egypt”). Since the film enters theaters already in its death throes — undone by toxic word of mouth, much criticism of its predominantly white cast, and an opening-weekend box office projection of about 10% of its $140 million production budget — perhaps a little kindness would not be misplaced. So here goes: This is by any measure a dreadful movie, a chintzy, CG-encrusted eyesore that oozes stupidity and self-indulgence from every pore. Yet damned if Proyas doesn’t put it all out there with a lunatic conviction you can’t help but admire, immediately earning this Lionsgate release a place in the 2016 pantheon of gloriously watchable follies.

With its burnt-yellow cinematography, its excessively gilded production design and its blinding flashes of sunlight, “Gods of Egypt” at times doesn’t suggest a movie so much as a giant cinematic tanning salon — all the better, perhaps, to darken the pearlescent skin tones of most of the actors on display (an effect that can be further enhanced with your purchase of murk-maximizing 3D glasses). The opening scene sweeps us over the streets, roofs and pyramids of ancient Egypt, a prosperous kingdom ruled over by the wise and benevolent Osiris (Bryan Brown). For centuries Osiris has allowed his lowly mortal subjects to dwell in harmony with the gods, who tower over everyone thanks to the latest advances in digital height-modification technology.

Everything changes, however, at the coronation of Osiris’ son, Horus (Nikolaj Coster-Waldau), also known as the Lord of the Air. In storms Osiris’ jealous brother, the desert god Set (Gerard Butler), who promptly murders the king in full view of the horrified public, then defeats his nephew Horus in a duel and gouges out his eyes. It all happens so quickly, and with such dynamic “Virtua Fighter”-style whooshings of the camera, that you barely have time to register such head-scratching details as, say, the fact that Set is way too young to be Osiris’ brother, or the hilariously unexplained provenance of Butler’s Scottish accent. But don’t think too hard about it. It’s magic!


Box Office: ‘Gods of Egypt’ Falling Flat, ‘Deadpool’ Still King

Some time later, Set has established a new reign of terror in which mortals, once free to enter the afterlife, must now buy their way in with treasure. Meanwhile, said mortals have now been sentenced to a lifetime of hard labor, including Bek (Brenton Thwaites), a wily, handsome and quite boring young thief who dreams of freeing Horus from his self-imposed exile. And so, with the help of his fetching lover, Zaya (Courtney Eaton), and under the nose of Set’s right-hand man, Urshu (Rufus Sewell), Bek breaks into the palace’s booby-trapped vault and steals back one of Horus’ eyes. Now sporting a sexy eyepatch, the Lord of the Air determines to seize his revenge against Set and take back the crown.

First, however, Horus must address a few complications, such as the fact that his former squeeze, Hathor (Elodie Yung), is now bedding down with his nemesis; their love nest is strategically positioned next to a towering obelisk that underscores Set’s lust for conquest and his nagging infertility issues. Hathor, incidentally, is described in the production notes as “the goddess of love, music and alcohol,” which means that she presumably would be in a position to do something about Marco Beltrami’s epically tumescent score, or at least to ensure that no one walks into “Gods of Egypt” without a beer in hand. In a movie where the deities transform at will into winged, animal-headed Hasbro figurines, or where Geoffrey Rush’s white-robed sun god Ra reliably bursts into craptacular CG flames, the drinking games pretty much write themselves.

Coming off “I, Robot” and “Knowing,” Proyas hasn’t exactly been in his element for a while, but every so often the elaborate kitsch and clutter of his visual design clears away for the sort of striking effect that reminds you of the impassioned fantasist who gave us “The Crow” and “Dark City” — a small sandstorm that becomes a portal between the lands of the dead and the living, or the enormous proto-Starship Enterprise that Ra navigates through the heavens, every night doing battle with what appears to be a thunder cloud with teeth. At times the camera stays still long enough for you to take in the details of Liz Palmer’s ornately bejeweled costumes, though unfortunately, this also gives you time to study the almost surreal disconnect between foreground and background in every artificial-looking frame.

As ever, Proyas doesn’t skimp on spectacle, though it’s a disappointment when the Sphinx inevitably shows up and disgorges her riddle; you want to tell her to either slow down and enunciate or get the hell back to Vegas. The movie’s action highlight finds two evil goddesses, Astarte (Abbey Lee) and Anat (Yaya Deng), chasing after Horus and Bek on enormous fire-breathing cobras, forcing our mismatched heroes to put their heads together. Coster-Waldau and Thwaites manage a passable, bickersome on-screen chemistry that drives the movie toward its big moral epiphany, which is the importance of treating even one’s so-called inferiors with decency, as Horus slowly learns to see the worth of his mortal subjects and the entwined nature of their destinies.

But really, who is “Gods of Egypt” kidding? Like so many of Hollywood’s sword-and-sandal offerings, this interminable ersatz epic consigns most of the human race to a sea of digital extras while subjecting its immortal characters to more than two hours’ worth of big-screen deification. Butler, looking and sounding so out of place you may wonder if he’s doing early cross-promotion for “Cairo Has Fallen,” nonetheless perfectly embodies the crass, ham-fisted sensibility of the enterprise: He’d be chewing the scenery if you could chew green screen. Not to be outdone in the weird-accent department, Chadwick Boseman glares and snarks up a storm in the role of Thoth, the haughty and imperious god of wisdom. If he knows why this movie exists, he’s not telling.

Film Review: 'Gods of Egypt'

Reviewed at AMC Century City 15, Feb. 24, 2016. MPAA Rating: PG-13. Running time: 127 MIN.


(U.S.-Australia) A Lionsgate (in U.S.) release of a Summit Entertainment presentation of a Thunder Road Pictures/Mystery Clock Cinema production. Produced by Basil Iwanyk, Alex Proyas. Executive producers, Stephen Jones, Topher Dow, Kent Kubena.  


Directed by Alex Proyas. Screenplay, Matt Sazama, Burk Sharpless. Camera (color, widescreen, 3D), Peter Menzies Jr.; editor, Richard Learoyd; music, Marco Beltrami; production designer, Owen Paterson; supervising art director, Ian Gracie; art director, Sophie Nash; set decorator, Nicki Gardiner; set designers, Mara Garanzini, Nick Sargent, Alanna Baudinet; costume designer, Liz Palmer; sound, Martin Pashley; supervising sound editor/designer, Wayne Pashley; re-recording mixers, Greg P. Fitzgerald, Pashley, Peter Purcell; special effects supervisor, Dan Oliver; senior visual effects supervisor, Eric Durst; visual effects producer, Jack Geist; visual effects, Iloura, Rising Sun Pictures, Rodeo FX, Cinesite, UPP, Raynault VFX, Tippett Studio, Fin, Comen VFX; special makeup effects, Odd Studio; stunt coordinator, Ric Anderson; fight choreographer, Tim Wong; 3D conversion, Legend3D; associate producer, Brian Bookman; assistant director, P.J. Voeten; second unit director, Kimble Rendall; second unit camera, Brad Shield; casting, John Papsidera.


Nikolaj Coster-Waldau, Brenton Thwaites, Chadwick Boseman, Elodie Yung, Courtney Eaton, Rufus Sewell, Gerard Butler, Geoffrey Rush, Bryan Brown.

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  1. Nicole Bay says:

    Please research and if you’re black and reading this. Please dont believe Ancient Egyptians were White. They were indeed Dark skin completion and different shades just as today Our history was white washed by the Vatican. Its just one Google search away. The writings on the walls in the tombs don’t lie and they show the truth. Please watch a movie named ” Hidden Colors” We are the indigenous people of this plant. The Black woman is the giver of life. Black/dark completion who’s women birth nations. People of all shades of brown..The black woman also can birth a White child. No white woman can produce a black child. Yes that’s right! Its called Melanin, everything from this earth has it as protection from the Sun, its gives US energy. Just think, how could white people survive the SUN, they need a man made solution of chemicals just to be in the SUN, come on now, Stop it with the lies! ANTIENT EGYPTIONS WERE BLACK!!! The hieroglyphics don’t lie, its been there for thousands of years! This is the main reason our culture is confused is because the Romans stole our History and claimed it for theirs. How can we claim an African culture, they made sure we wouldn’t know the truth. We are descendants of Royalty.

    But now we are getting more conscious. The Caucasian race were living in Caves in the Caucus mountains, hence the name CAUCASION. They were savages, not bathing, didn’t know how to talk, dirty and disease famine.. They steal everything, research why their history starts with the Roman Empire, they cut off the heads of the Ancient Egyptian sculptures and replaced with fake heads to depict them. Don’t take my word for it, look it up. Oh and the Egyptians of today have been mixed so much, yes they are all lighter Now.

    • Rex says:

      So if the ancient dark-skinned Egyptians were so civilized and all knowing, how then historically did those dirty, unspeaking Caucasians ultimately surpass them in language, literature, art, politics, world exploration, world expansion, industrialization, modernization and nearly everything else? Why didn’t the ancient Egyptians so gloriously and, admittedly, reasonably accurately depicted in ancient artworks prevent that from happening, or at least stunt its growth so as to model the world according to their own designs.

      Anyway, nice reverse racism there, Nicole Bay.

  2. Miketx says:

    SO you don’t like the movie because there are to many white people in it? I guess I’ll have to buy it then.

  3. Jupiter says:

    Movie critics really don’t make any sense most of the time. Can’t they just say if it’s good or not in 30 words or less? lol no wonder you so much people hate critics. They always tryin’ to act “god”.

    • Rex says:

      Why do morons who can’t process written works more than 30 words long always gravitate to long-form, professional movie and then snark like little millennial babies when it isn’t dumbed down to pablum for them? You want 30-word reviews, dummy? Read Twitter, and stay dumb.

  4. I think it is a bit shy in presenting itself as a single movie with no legacy on continuing, and not splitting some scenes with more script, more dialogue, especially on the initial part, that it presumes that everybody are acquainted with the story of the gods of Egypt, bek-pek look a lot alike young Luke Skywalker thrown away from its hole way too fast, without any concern about the giant gods, the pyramid – sound machine part also was interesting, but it dissolved in a papyrus and the idea wasn’t explored, it got this indiana parts also that looked cool, but way too easy, play god mode next time!

  5. Elizabeth says:

    Most of the characters are supposed to be GODS, they can look like what ever they want, they are SUPPOSED to be huge and “look artificial” because they are not of this world. No one had a problem with Asgard in the Thor movies. It was beautifully done, though I did notice a conspicuous lack of actors who looked in the least bit Middle Eastern/Mediterranean/North African. The quips were amusing and the characters actually had a little depth instead of being walking tropes. Mythology is a fascinating realm and we finally have the technology to explore it in a really awe-inspiring way. Does anyone appreciate that they’re trying to represent super-human, supernatural beings here? Does anyone care that they’re trying to address the philosophical issue of why bad things happen to good and innocent people? Does anyone care that the boat of the sun was freaking awesome? I guess what goes for superheroes in Marvel moves is okay, but in any other movies, it’s just “trash.”

  6. Artist Artist Movie Review
    By Teo Tioliendo
    In a time where black youth and their current street culture has created such a lost generation that values only itself, and show respect in slang, profane muzic and love of little to none of what has been created in our culture by our belonging to a great past, we are given in the vice of fantasy, imagination, and entertainment a distortion of history, to a world that is still learning about the true histories of Africa, and its effects upon the soul of the nations of the earth, even today. Our people want to take pride in all that represents the greatness of Africa, even the part that served to bring forth a better world, as it served God’s purpose concerning the biblical depiction of Egypt and the spiritual destiny of man, as it stood against the biblical history of Africa, that stood with the predestined path that Africa’s descendants would have in moving forward a world, before the birth of Christ, and help the world to witness the Glory of God in his overcoming slavery, idolatry of the world, and death. Africa, Afriqans, Egypt and black people in America and the world, bear witness to this history that tells our story that God by grace blessed the world, as he freed us, freed the Jews, freed the Africans-black people, sons and daughters of Noah, in a time of sin, being freed from worship of idols as gods, freed to go froth to a time where there would be human and animal sacrifice no more, as the prophecy of Christ was fulfilled in Jesus, bringing us out of darkness into the light of truth, blessing us with great gifts, that we share with the world in art, muzic, and battle against evil, and continue to tell our true story to the glory of God. But as were told of the time to come of a generation that would be led astray by man’s own devices a misrepresentation of blacks by the sin of omitting of the true people of Egyptian ancient history an offense however black are representative for the sake of the movie itself. Napoleon removed Egypt from the maps of the world once in the great books written about Afriqa at the time of his infamy, the world put Egypt back for the historical truth that Egypt is a part of Afriqa to be known for future generations, that included our generation and the black youth of today. A movie that stands as another misleading representation of black people’s greatest civilization, called even in the time of Christ resurrection, to the Gospel, is very troubling, as black youth today are disconnected from the wisdom of truth in knowing its history and value in knowing of such parts of Africa, Egypt, being part of black history, which crossed 7 thousand year of African pharaohs. Playing with this history is one of the most dangerous, and arrogant acts of film making today, though God’s of Egypt is an incredible film making feat, standing strong in its use of classical epic music orchestration in composition of its sound track, reminiscent of the sound track for the 10 Commandments, with special effects that are modern in the battle scenes as the best graphic novels today, yet futuristically juxtaposed against pre-dark ages magic, that is feels allegorical and echoes of cosmic Egyptian astrological mysticism, in an amazing tale of fantasy that an unknowing child would believe with all magical thinking to be true if never taught otherwise by history of black culture and the Afriqans of Egypt who created, ruled, and perished and survive in its artifacts and descendants today, from the time in its past. God’s of Egypt and film based on true stories, have served to educate, elevate, and enhance knowledge in truth history by the principle of the story based on a true-story-tradition of film making. But in the license of doing whatever we want with our devices for entertainment and profit movies are abounding in evil, leading people into hardness of heart, alienation from their own culture, and darkness that is an eclipse of the truth, where the power of God seems to be left out in such times, moments in movies, as if any power of God can be left out of the consequences of the actions of people, whether in the arts, in labor, or in historic or religious depiction of the life and the spiritual life of the people of the world of light, upon the musical earth. Whether it is films making movies or recording music and writing scripts it is all the sowing on earth what is our own destiny in heaven. Such imaginings of disrespect with the film art has gone so far, with such dishonor and disrespect of the flesh-people, the body, even the blessings of color concerning people of the earth, in such movies. This is true in the making of movies of history, war, horror, realistic terror, giving man’s use of his sovereign will, (strong will-free will) to do whatever he wants. But truth demands we use our sovereign will to be great, do great things for us all. Getting away with distorting a people’s history as being acceptable in fiction and art even in film making is an illusion, to believe that Release of films like God’s of Egypt does not have yet to carry the responsible for historical misrepresentation of a people based on color, who have historically been judged and destroyed, and freed because of color, in wars, and by the power of biblical truth for such creation for entertainment, thrills and actions in film art. There must never be an abandonment of respect for God’s Word, commandments, biblical history, even as it is written of Egypt, and it’s calling to follow Christ instead of the people of the veil-those whose souls are tied to religious rather than God’s law, and grace. The universal appeal of God’s of Egypt for all its spiritual, and biblical untruth is its mythical portrayal, and romantic glorification of gods, a forbidden act, that promotes idolatry, unbelief and echoes of the denial of Egypt’s place in the Romanticized stories of this great civilizations as being possible with its true people as the subjects of this great ancient past also a part of our biblical past. Tales of terrorism in Egypt today has taken away it’s being believed to be capable of having its place as a Christian nation of destiny by some people. But all over the world many who were not, are being called and converted, blessed to become Christians. As God’s of Egypt for the sake of the blockbuster it was made to become, reveals by its denial of God, the role of black people in shaping the world for all its knowledge of good and evil, a part of ancient Egypt’s history, the most ancient truth, biblical truth, is ever revealing, giving us the enlightened black mind that comes of the truth about black people and the world, thanks to God’s incredible wisdom, as the only truth we can rely upon. Such a movie stirs up race consciousness in a time when we take a moral leap forward, having new knowledge of the biblical revelations of the blessings of color, that are spiritual, not racial, where romance, and sexual myth are overcome about blacks and sex and love, as we have learned we were blessed from our beginning as children of God, by the covenant of love, soul ties for love, that were meant to be. We resist, reject lies, even a good liar, in a good piece of film making like God’s of Egypt. Our souls are not tied to myths, but to the prophets, Christ, and God, in history, not movie fantasy, based on our history of myths, though our minds are entertained by the tale, as in the Odyssey, being seduced by this style, visualization, the poetic license, the work of fiction, regardless of its historical leaving out the true place and portrayal of events of ancient people, the Africans, who even in ancient Egypt, with its gates open to every kind of people worshiping all manner of gods, oracles, pagan life that reaches such heights, that will never reach the truth. Gods of Egypt is not about the history of Africa, though it uses the essential remnants, symbols of artistry, regal figures of Egypt’s history and royal past, in history, and from their religious beliefs. Beliefs in the afterlife, use of sorcery, echoing but aesthetically leaving out the subject of mummification that is the anti-romantic quality of telling of the most important figures of Egypt’s past, magic, and the powers attributed to gods of their beliefs. Gods of Egypt denies however the Afriqan as primary in Egypt’s history and even presents a black man as a God of wisdom that falls short in his so called perfect imperfect wisdom. Gods of Egypt gives Egypt’s god’s presence that is visualized in very familiar ways leaving out the One God, and the children of God who were in Egypt, along with all people of earth in Egypt during the height of its civilization, for reasons of commerce, who were ruled under and worshiped their pagan gods, and were a part of biblical history, before the birth of Christ. Afriqa’s story must be told, was of the oral tradition spoken and as a part of the black literary tradition today, written and taught for edification of all people of earth on what happen to Afriqans in the world, that we all bear witness the Glory of God in his overcoming the sin of slavery, and the sin of death, and our receiving the gift of being favored with The Word, His Son in the world, and Holy Spirit from the One God the only true God.*Tioliendo

    Anecdote: The danger of promoting the focus on The Eye of Horus
    I had a friend who tattooed herself with this symbol. I never knew its danger and meaning as a way to Egyptian magic, witchcraft, evil, or mythology. But when I asked my friend her religion she referred to Egyptian ancient religion. I had a sense of what it meant and I knew it wasn’t good for her. She was a very beautiful woman, but there was always a distance that revealed itself in the hint of a strained look on her beautiful face. I went on a date with her but somehow ended up at her family’s house. I would later see her self-portrait nude and wondered at her showing herself even in art to the world like that when she was so distant usually. But then time past and we didn’t see each other. Then I saw her again. She had withered and the voluptuous curvy figure was not the flat chested figure of a skinny body looking body. I had no doubt something connected to her religion practice had to do with this. I asked what happened and told her how much I loved her body, artistically, she knew what I meant. I like it, she said of her new body. Years later I saw her and she had her beautiful body back, had she given up the unholy powers that had such the beauty out of her, was it that eye of Horus, I wondered.

  7. Andy Kistler says:

    …. way too many reviewers focus on the “white-washing” issue. Which really just tells you that film reviewers 1) don’t know very much about Ancient Egypt, and 2) probably didn’t really pay attention during the movie.

    To start with, almost all of those actors were tanned/dark-skinned enough to be believable, particularly when it came to Gods and royalty, based on what archaeological evidence we have. Egypt was extremely heterogeneous, lighter skin was common, and from most of what we know it was not a largely Nubian population.

    And really the whole argument is moot, since *it clearly didn’t actually take place on Earth or in Ancient Egypt*.

    • Lazar says:

      You do know that Africa is not inhabited only by Black people. North Africa is inhabited today by Arabic and Berber speaking bronze- light brown to dark brown skinned peoples, and despite their modern language I bet modern Egyptians look exactly like ancient Egyptians, which means they were bronze to dark browned skinned, not black and most certainly not looking like Sub saharan peoples. I started reading Egyptian literature and they most certainly diferentiated themselves from the sub saharan peoples. If they were black themselves they would most certainly not differentiated themselves and they would not have specific words and even slurs for the black race. It is equaly racist to say Ancient Egyptians were African Blacks as it would be to say they were white. If this movie is racist as it is, it would most certainly be even more racist if it included all Black African American cast perhaps even more offensive to Egyptians. African Americans and White Americans tend to transfer their simplistic racial view and division on the entire world even when it doesn’t exist. For example black guy would lump me and guy from neighbouring Romania with white guy from America into the same cultural group as whites and me and Romanian guy as Europeans even though our groups are mostly unconnected and at least me and that Romanian guy would see the white American and African American guy as equaly foreign to us. Also to me personnaly African Americans are culturaly not in any way African anymore. Never have I seen African Americans take pride in the specific cultures their ancestors came from (For majority cultures of West Africa) instead having invented this imaginary pan- African identity, which never existed in the first place. Also it speaks volumes about low education of certain political leaders that they started to see Islam as religion of their free ancestors which it most certainly wasn’t. Islam not only does not forbid slavery but outright regulated it and Islamic Qalifate started the first mass enslavement of black people 1000 years before it took it’s full swing under whites. West African Muslim black kingdoms were main slave selling states, and blacks also seem to forget that white slaves also existed at the same time their ancestors suffered. So instead for African Americans to be pissed at Western European colonial power whites they are pissed at all whites in the world. And so we now got non authentic view of African culture which actually never existed trying to be imposed by insecure black elites instead of being proud at authentic West African Heritage. Any true african is much prouder and with education much more progressive looking and confident in his identity than 99 percent of African Americans.

  8. JN _ D says:

    Just a light film. If you don’t think too hard about it. Actually, was a good movie. Some of the comments are obsessive about “white washing”. Its a movie, not meant to be a documentary. Thoroughly enjoyed it.

  9. James says:

    I like the innovative story of this movie. It is pure fantasy with plenty of action (CGI & what’s not). I thoroughly enjoyed this movie. We should view this show from the aspects of a different form of storytelling. The Review inaccurately & unfairly judged this movie from the usual aspect of life creation from the christian’s bible. Also I think the reviewer are not familiar with Epyptian mythology to brand this show as boring or absurb. If Greek gods are involved, I believe the review would be very different indeed. So just watch the show with a pinch of salt & enjoy storytelling at a fantasy level. “Pure Magic”.

  10. It would be vain to hope for historical accuracy – or at least plausibility – from such films, but what such productions invariably lack is any atmosphere.

  11. I loved much (not the ending) of DARK CITY and much (not all) of THE CROW…so while I’ll go see it for myself for the experience since I’ve seen just about everything else in current release, (good or bad) it’s sad that it looks like a big schlemazzle from the review. I don’t have a problem with Proyas not casting Egyptians. They were probably all busy rioting in Tahrir Square or flying planes into buildings and unavailable…

  12. Richard says:

    This was movie that I was sitting on the fence about but after having seen it was a silly bit of fantasy …much like Sinbad or Clash of the Titans …but it was tons of goofy fun with over the top …sometimes cheesy but most of the time amazingly beautiful CGI eye candy. The cast dispite the casting choices ( which too be frank except for Gerard’s accent didn’t bother me and this isn’t an all white cast by any means ) is attractively game if sometimes ham fisted . It kept me entertained through out. Perfectly fine family action movie.

  13. Ken says:

    Sounds like a wonky blast! But I won’t catch it until it starts streaming. Thanks.

  14. Cass says:

    Who green lit this stupid idea? What a waste of money. Any of us would’ve waved a red flag early on. Imbeciles.

  15. Mark Reed says:

    So the movie has Gods, monsters, demons,beasts, SPACESHIPS….and yet people have trouble believing the cast is not genuine. Way too many keyboard warriors. Looking forward to seeing the crazy God opera, looks great fun.

  16. alex says:

    Not one mention about the glaring racial insult this movie is by casting white actors for 99% of the roles set IN EGYPT and DEALING WITH EGYPTIAN GODS?!

    • Did you also happen to notice the world was flat? I’m pretty sure that wasn’t accurate either.

      Jokes aside, we do need braver casting decisions from film studios, you’re not wrong.

    • therealeverton says:

      It does mention that.

    • david p memoli says:

      the egyptians are not,and were not,negroes. they did include some visiting nubians,and also seem to have incorporated some of that in their dna,but…they were basically caucasian. their own art shows you that!

      • ;lk says:

        NOT Ethiopians or East Africans

      • ;lk says:

        They were semites from the fertile crescent. Not negroes. The negro fantasies began in the 60’s. They were Ethiopians or east Africans. Ancient Egyptians are 90% genetically identical to modern Egyptians. End of story.

      • Anon says:

        For some unknown reason, I guess it’s because Egypt happens to be on the continent of Africa, a large number of people just simply refuse to believe Egyptians are not black. There are Egyptians living in the U.S. You can see them for yourself or walk up and ask them. The award winning actor Rami Malek is American & Egyptian. Not black. They are not, nor have they ever been black. Egypt, like quite literally every other country in the world, was visited for trade purposes and also invaded by other groups as they rose and fell from power; such as the Canaanites, the Libyans, the Nubians, the Assyrians, the Babylonians, the Persians, the Macedonian Greeks (Cleopatra was Greek), the Romans, the Arabs, the Turks, and the British. Are all of these people likely mixed into the DNA of the ancient and modern day Egyptians, yes of course. That just makes them Egyptians.

        Btw, there are other north African countries in which the native people are not black: Libya, Algeria, Morocco. Aside from Hollywood (for whom I can’t speak) by speaking pure fact — nobody is trying to take anything away from anyone. They’re just reporting archaeological and anthropological scientific knowledge. That isn’t “whitewashing” anything.

      • Ed Keiling says:

        You couldn’t be more wrong. Egypt was a multi ethnic society and the art reflects that, unlike what you claim – that is if you ever been to a museum. Even the bust of Cleopatra in the Metropolitan Museum shows a mixed Greek with some black in her.

        Plus, Nubians were not “visitors” to Egypt (what does that even mean?) but indeed ruled the place for over 100 years. (BBC has a documentary on that called ” The Black Pharaohs” you could benefit from watching it.)

        According to their own writings, Egypt was ruled by blacks, whites, mixed, reds and also blue individuals. Most Egyptologists without an agenda (either pro Black or pro white) claim Egypt was very close to what Brazil is: with people ranging from blondes to all shades of black and white in between.

        As for the movie, it’s all over the place and looks kitsch (not in a good way).

      • Mikey says:

        They were not caucasian, they were East Africans similar to modern day Ethiopians, Sudanese, and Somoli people. They were only caucasian after the Roman, Turkish, and Arab conquests. I repeat THE ANCIENT EGYPTIANS WERE NOT CAUCASSIAN!

      • KarlHeimer says:

        “They were basically Caucasian” LOL. Whitewashing history much?

  17. Marie says:

    This and London Has Fallen.
    Jesus Gerald, what the heck are you doing? I saw Law Abiding Citizen. He got the chops, just not picking the right movies.

    • Anon says:

      What is anyone talking about “WERE”?! Egyptians ARE. They live people. I have friends who are actual living Egyptians. Ooo. Imagine. And they aren’t black. I’m sorry to tell everyone who was counting on them being black. They are not at all “similar to Ethiopians” who are generally darker skinned than Egyptians.

      The Nubians weren’t in Egypt until the very later dynasties and they were only in the ruling classes, not mingling so much with the public in general. 100 years of Nubians in the scheme of thousands of years worth of Egyptian dynasties is really a drop in their historical and DNA bucket.

      The word “VISITED”, in terms of an historical discussion, generally refers to those who came as trade partners, as opposed to those who came to conquer. That’s all. Nobody’s trying to pull anything over on anyone. It means they visited frequently FOR MONEY. Something people have always liked to do. The Egyptians were very big on money, at least 1% of them were (some things never change).

      To be honest, I don’t know what we should be calling Egyptians anthropologically speaking, as they might be closer to being full Arabs. But I guess that’s a question for an anthropologist.

  18. irwinator1992 says:

    Can someone tell me why Geoff Shaevitz and Summit Entertainment are allowed to keep making movies ?? Between this film, the Twilight saga, and Divergent, it’s safe to say that Summit is officially the laughingstock of Hollywood. Lionsgate made a fatal mistake in buying Summit, which is a festering corpse with no quality pictures of any kind. I would not be surprised if the entire Lionsgate studio filed for Chapter 11 after Allegiant tanks.

    As for Alex Proyas, the whitewashing was the least of his movie’s problems. The biggest problem is that he made a boring, wooden and convoluted Street Fighter cutscene masquerading as a mythological flick. Dated special effects, the casting of Gerard Butler, and a script by the schmucks who did Dracula Untold didn’t help. If this film is going hurt anyone’s career, it’s certainly Proyas. He has completely sold out, trading focus, style and originally (The Crow, Dark City) for messy big-bucks fireworks shows (I Robot, Knowing). His career will never recover.

    There is a film called “Only Yesterday”. And it is a masterpiece that makes you laugh, cry, think (and it makes you care about movies as an art form). In fact, any film starring Daisy Ridley is a masterpiece. See “Only Yesterday” instead of “Gods Of Egypt”.

    • Rex says:

      Here’s your answer: China.

      This movie may bomb theatrically in North America, but it will play in China because it has Asian actors in the cast. Not many, but enough to make me suspect it probably has SOME Chinese money behind it. Granted, it won’t make a mint there, either, but China and other recently-westernizing countries LOVE sparkly Hollywood movies that some of their own actors can be shoehorned into, just like this one. And that’s why they’ll keep cranking them out. In a sense, they’re no different than the Italian peplum movies of the 50s and 60s: large-scaled, expensive-looking (albeit cheaply produced in those days) and over-plotted, casts-of-thousands spectacles that traveled easily across cultures.

      The reviews of this one, especially Chang’s, have me itching to see it on the big screen since the opportunity will be short lived from the sounds of it. I do, however, wish people,would stop dumping on 3D. It rarely makes movies look “murky” and it ONLY does so when projectionists don’t turn UP their projector beams like they’re supposed to. Instead, their laziness means we 3D patrons (who still attend in massive numbers) have to suffer with 3D movies projected at light levels appropriate for 2D only. The proof is in the subsequent 3D Blu-Ray editions that invariably present the film’s the way they’re supposed to be see.

    • What an odd comment. TWILIGHT made scores of money. Divergent not as much but still plenty. This movie won’t. Why would you consider them all in the same breath?

  19. Bill B. says:

    Who on earth thought this would be a hit?! I only wonder where it will fail most. Financially or critically. From what I have read so far, it’s a tie.

  20. Dang, tell us how you really feel. The trailers have some beautiful work in them…..sounds like it is the entire best parts of the film, Still want to see it though.

  21. L.A. Julian says:

    An Egyptian-mythology-based movie made with complete disregard for the actual tragic-epic love triangle of the Osiran myth cycle, and replacing that goddess-centric revenge story with something completely unrelated? What could possibly go wrong?

    • Richard says:

      Did you actually see it because from what I read except for the inclusion of mortals so we could relate to the story and simplifying an cutting down the pantheon of gods, it sticks pretty close to the various versions of the story and themes.

  22. Kenmandu says:

    If those abs could only act.

    • Anon says:

      What the heck happened to Gerard Butler? I don’t know if anyone can actually answer that, so I’m not sure if that’s a serious question. He did at one time know how to make it seem as if he could act. I saw DEAR FRANKIE. It was a really nicely made film. He was good in it too. It’s easily been 8 yrs or more since he’s done anything that’s remotely resembled acting. I guess he’s made money. Hope he’s happy.

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