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Movie Review: “Gods of Egypt”

Nikolaj Coster-Waldau, Gerard Butler, Brenton Thwaites, Courtney Eaton, Chadwick Boseman, Elodie Yung, Geoffrey Rush, Rufus Sewell
Alex Proyas

You have to respect any studio daring enough to give director Alex Proyas – who hasn’t made a movie in over seven years – $140 million dollars to produce an adventure/fantasy film that isn’t based on a preexisting property. Unfortunately, that respect means very little when the money is wasted on a movie as hopelessly dumb as “Gods of Egypt,” though you could hardly say that the warning signs weren’t there, especially with a screenplay by the same hacks responsible for recent flops like “Dracula Untold” and “The Last Witch Hunter.” Credit to Proyas for attempting something this ambitious, but it doesn’t make the effects-heavy fantasy flick any less of a turkey.

The film takes place in ancient Egypt, where gods and mortals coexist under the leadership of King Osiris (Bryan Brown), the favored offspring of the sun god Ra (a strangely miscast Geoffrey Rush). But when it comes time to crown his son Horus (Nikolaj Coster-Waldau) as Egypt’s newest ruler, his jealous brother Set (Gerard Butler) stages a royal coup, killing Osiris and defeating Horus in battle. Set ultimately shows mercy to Horus by letting him live, but not before plucking out his magic eyes, which are the source of his god-like abilities. As Egypt is thrust into a slave-driven dictatorship, a young thief named Bek (Brenton Thwaites) decides to take action by stealing back one of Horus’ eyes and striking a deal with the self-exiled god. In exchange for its return, Bek demands that Horus resurrects his recently slain love (Courtney Eaton) before she reaches the afterlife, a seemingly impossible feat that Horus nevertheless agrees to in order to exact revenge on his murderous uncle.

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The Light from the TV Shows: “Game of Thrones” begins anew (and so does “The Killing”)

As we enter into the final quarter of the traditional broadcast TV season, where many of the mid-season entries are already beginning to wrap up their runs (“Alcatraz,” for example, aired its two-hour finale on Monday) and most of the series that kicked off way back in the fall are in that depressing twilight period just prior to their last run of new episodes before season’s end, many of your favorite premium cable programs are taking advantage of the semi-lull by coming back with a vengeance.

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