Old vs New: Ten Commandments - Nostalgia Critic

Overview

The Nostalgia Critic kicks off “Old vs New: Ten Commandments” by pointing out the holiday timing and joking about a “Moses” turkey mishap. He then frames the challenge: compare Cecil B. DeMille’s 1956 The Ten Commandments against DreamWorks’ animated musical The Prince of Egypt.

He admits it’s “cheating” a little because both films draw from the same larger story (and even DeMille’s earlier adaptation), but he still decides to judge them fully head-to-head.

Main Plot Focus

Both films retell Moses’ rise and the conflict with Pharaoh, with special emphasis on the relationship between Moses and Ramses. However, the Critic insists their emotional core is different:

• 1956 film: emphasizes the grandeur/darkness of the wider world and portrays Ramses as a more purely villainous figure.
• Prince of Egypt: centers its drama on the brothers’ bond, focusing on the tragedy of how that bond is broken.

Highlights and Key Reactions

“Moses” Showdown (Casting and Tone)

• Charlton Heston (1956): plays Moses with “Superman” confidence—destined for greatness from the start. The Critic notes the heavy, powerful speeches can feel preachy.
• Val Kilmer (animated, voice): plays Moses as more of an everyman who grows into leadership. The Critic says this makes him more human, though he ultimately prefers Heston’s gravitational “greatness” vibe.

Running gag: Kilmer gets called out as the “more human” Moses, while Heston’s Moses is framed as destined charisma.

Ramses: Tragic Complexity vs. Deliberate Villainy

The Critic argues the animated Ramses is more tragic:

• shaped by his environment,
• pressured by an overbearing father,
• and still cares about his brother.

He praises a standout animated sequence where Ramses’ emotions—sadness, anger, regret, vengeance—stack quickly after Moses returns, calling it some of the best animation he’s seen.

By contrast, the 1956 Ramses is described as more despicable and intentionally unlikeable. The Critic finds that entertaining, but concludes the animated version is better because it’s more complex and sympathetic.

Supporting Cast and Star Power

Both movies feature major celebrity talent, but the Critic ultimately praises Ten Commandments for how efficiently it “weaponizes” star power and leans into character darkness:

• He highlights performers such as Vincent Price and references others (as indicated in subtitles) to argue the film delivers quick “instantly evil” payoff.
• He claims Prince of Egypt develops fewer characters, but does so more focusedly, especially around Moses’ siblings and wife.
• Meanwhile, Ten Commandments is said to have more memorable, sharper-edged figures—even if some appear briefly.

God Comparison (“Balls to the Wall” Voice Acting)

A major comedic segment contrasts two versions of God:

• The Ten Commandments’ God: described as classic “deep, booming, judgmental,” with effects like flaming hail and firstborn deaths—voiced in a badass, traditional style.
• Prince of Egypt’s God: portrayed as warmer and more “loving/clever,” including a visually soothing burning bush and a creative choice to give Moses’ voice to God.

The Critic awards the round to Prince of Egypt for the softer contrast, though he clearly enjoys mocking the “vengeful God” vibe too.

Story & Script Logic: What Decides the Winner

In the concluding judgment, the Critic argues Prince of Egypt wins on story effectiveness, not just runtime.

• He claims Prince of Egypt properly centers the story on the brothers, making the drama more emotional, understandable, and personal.
  • If you remove that focus, he argues the 1956 version misses its most interesting engine.
• Key storytelling choices he cites:
  • No dialogue in a crucial emotional moment (Moses telling his wife about seeing God), carried through music and expression.
  • Clever animation/scripting compared to Ten Commandments’ handling of certain religious setpieces and “priest tricks” (e.g., smoke/mirrors logic).
• Criticisms for balance:
  • Ten Commandments sometimes feels overly soap-operaish, with characters speaking/posing in melodramatic serious moments.
  • Prince of Egypt includes some forced early comedy, but the Critic argues it’s intentional contrast—so it doesn’t fully derail the later tragedy.

Final Verdict

After weighing the rounds, the Critic declares:

The winner is The Prince of Egypt — described as the “superior film.”

His rationale: its focus on Moses and Ramses as brothers produces the strongest combination of character drama, visuals, emotional moments, and payoff.

Notable Jokes / Meta Moments

• Recurring humor about different “God” interpretations, including a gag where the video ends with “God arguing” back and forth in the Critic’s style.
• A joke about how everyone instantly knows Moses’ last name is Moses… Didu.
• Corniness jokes about nostalgia and musicals—used to explain why Prince of Egypt’s early humor still works.

Personalities Appearing (from the Video/Subtitles)

• The Nostalgia Critic (main narrator/reviewer)
• Charlton Heston (discussed Moses in The Ten Commandments)
• Val Kilmer (discussed Moses in The Prince of Egypt)
• Ramses performers (discussed: different portrayals across films)
• Vincent Price (villain role discussed)
• Jeff Goldblum (Aaron, discussed)
• Patrick Stewart, Sandra Bullock, Michelle Pfeiffer, Steve Martin, Martin Short (cast discussed)
• “God” (the Critic’s comedic persona/ending bit)