Flipping through a fashion catalog or a handsomely mounted design book has its diverting joys. But “Knight of Cups,” Terrence Malick‘s attempt to render a dapper, rudderless movie writer (Christian Bale) wandering an Antonioni-esque Los Angeles into something navel-gazingly cinematic, winds up as mainly an art browse, even with all its visual resplendence. It’s the movie equivalent of a multi-course banquet of colorful foams: wisps of flavor emerge here and there, and admiration reigns, but in the end you’re unlikely to believe you’ve actually had a meal.

It’s been a while since we’ve had new Knight of Cups footage, and it’s going to be even longer. A new trailer for the upcoming Terrence Malick film debuted on Tuesday, but sadly it’s not exactly new. Continue reading…

The Bible epic “Exodus: Gods and Kings” will bring down reigning box-office champ “The Hunger Games: Mockingjay” and win this weekend with a three-day opening of around $25 million. But it won’t match the March opening of the faith-based action saga “Noah” and isn’t going to lead the slumping box office out of the bull rushes. “Exodus,” which is directed by Ridley Scott and stars Christian Bale as Moses, brought in $8.6 million from 3,505 theaters in its debut Friday. That easily outpaced Lionsgate’s young adult blockbuster, which has been No.

Meeting, but rarely exceeding, expectations, Ridley Scott's grand retelling of Moses and the Hebrews' flight from Egypt is strong on visuals and A-list presence, but slight on narrative and characterisation. Christian Bale and Joel Egerton both put in fine performances as Moses and Rameses, while the rest of the big-name cast gets lost amidst a CG-heavy blizzard of battles, plagues, revolts and muddled imagery.

The first time Ridley Scott let slip that he was planning a new movie epic about Moses, he said what interested him about the Biblical figure “isn’t the big stuff that everybody knows.” However, as trailers for the film – titled Exodus: Gods and Kings – began to hit the scene, it quickly became obvious this movie isn’t so much the “untold story” of Moses (played here by Christian Bale); it’s more just The Ten Commandments, redone with modern tentpole values, actors, and the self-seriousness of Scott’s previous historical epics (Kingd