Late last year, it was confirmed that the nearly-90-year-old Hollywood icon Ridley Scott’s next big project had been delayed, moving from its original March 27, 2026, release date to August 28, 2026. Following a short 34-day shoot in the United Kingdom, the film began to pick up a small buzz, with this move to a more Academy-friendly release slot suggesting an intention to set the wheels in motion on an awards campaign for The Dog Stars. The post-apocalyptic sci-fi drama features a stacked cast, including Jacob Elordi, Josh Brolin, Margaret Qualley, and Guy Pearce.
At a time when fans were supposed to be basking in the glory of Scott’s latest sci-fi effort, they instead face another three-month wait for its release. It seems that they are turning to one of his more forgotten projects, a film that was sadly a biblical-sized failure, to pass the time. The movie in question is Exodus: Gods and Kings, a 2014 epic that boasted an ambitious $140 million budget and a cast packed with talent. Led by Christian Bale as Moses and Joel Edgerton as Ramses, the ensemble also included Ben Kingsley as Nun, John Turturro as Seti, Aaron Paul as Joshua, Ben Mendelsohn as Viceroy Hegep, long-time Scott collaborator Sigourney Weaver as Tuya, and Indira Varma as the High Priestess.
Sadly, thanks in part to the film’s inflated budget, Exodus: Gods and Kings failed to return success during its theatrical run. In total, the movie made just $268 million in global revenue, split between $65 million in domestic revenue and $203 million from overseas markets, a haul that was $12 million short of the breakeven point. However, 12 years later, the film is proving it has staying power, as it ranks as one of the ten most-watched movies on Tubi in the U.S., at the time of writing.
Collider Exclusive · Oscar Best Picture Quiz Which Oscar Best Picture Is Your Perfect Movie? Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.
🪜Parasite
🌀Everything Everywhere
☢️Oppenheimer
🐦Birdman
🪙No Country for Old Men
01
What kind of film experience do you actually want? The best movies don’t just entertain — they leave something behind.
02
Which idea grabs you most in a film? Great films are driven by a central obsession. What’s yours?
03
How do you like your story told? Form is content. The way a story is shaped changes what it means.
04
What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you?
05
What do you want from a film’s ending? The final note is the one that lingers. What do you want it to sound like?
06
Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what’s even possible.
07
What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable.
08
What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you.
09
How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.
10
What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want?
The Academy Has Decided Your Perfect Film Is…
Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.
Parasite
You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.
Everything Everywhere All at Once
You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.
Oppenheimer
You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.
Birdman
You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.
No Country for Old Men
You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.
Critics Weren’t Fond of ‘Exodus: Gods and Kings’
Despite featuring an impressive cast, bold visual ambition, and the veteran instincts of director Scott, Exodus: Gods and Kings failed to impress critics. This is best seen on review aggregator Rotten Tomatoes, where the film earned just 29%, with the consensus on the site reading, “While sporadically stirring, and suitably epic in its ambitions, Exodus: Gods and Kings can’t quite live up to its classic source material.” A synopsis for the movie reads:
“The defiant leader Moses rises up against Egyptian Pharaoh Ramses II, setting six hundred thousand slaves on a monumental journey of escape from Egypt and its terrifying cycle of deadly plagues.”
Exodus: Gods and Kings is streaming for free on Tubi. Stay tuned to Collider for more streaming updates.
