Over the last year or so, fandom has been awash in hope and desire that Prometheus, the new film from Ridley Scott, and his return, if perhaps somewhat peripherally, to the Alien franchise he began in 1979 would be a welcome return to form for that series after a spiraling set of latter sequels and the infantile spinoffs in the form of the odious Alien vs. Predator films. Well fans, rejoice to some extent: Prometheus is certainly a fair sight better than the above mentioned films. It, however, will leave those who are expecting both a horror film and a very Alien-centric picture disappointed to a large extent, as Prometheus uses only the framework of the Alien universe to tell a wholly new tale, one that is more interested in asking questions than in giving you shocks.
Opening in 2089 on Earth in Scotland, archeologists Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green) have discovered a similar pictorial representation of a star system at multiple scientific digs. Using this information, they have convinced aging wealthy industrialist Peter Weyland (Guy Pearce) to fund an expedition to the star system depicted in the images in the hopes of making contact with what Shaw and Holloway refer to as the "Engineers", aliens they think may have helped engineer the beginnings of life on Earth. Once they arrive on the planet, the team discovers large structures that contain various chambers and artifacts, mostly small canisters, as well as one decapitated alien body. In the course of engaging in their research and exploration, they find themselves hampered at times by the limitations placed on them by their corporate boss, Vickers (Charlize Theron), and are also helped by android David (Michael Fassbender). But, as things unfold, the motivations of some of the crew begin to come into question, and the things they discover on the planet make them begin to wonder if it was a trip that was wrong to make.
Prometheus is very interested in tackling some "big" issues: the origin of mankind, the mix of faith and science and the search for immortality. Unlike many other modern science-fiction films, it isn't all slam-bang, hyper edited action. In fact, much of Prometheus is comprised of scenes of dialogue and moments of characters pondering what they have discovered. Science fiction movies with a degree of wonder and introspection are a rare creature these days, so the fact that Prometheus seems genuinely interested in exploring some of these themes is impressive in and of itself.
Prometheus doesn't completely skimp on the scare quotient. While I would hardly describe it as a full on horror film, Prometheus has more than its share of jumps, tension and squirms, albeit these moments are often secondary to other elements in the film, but they deliver when necessary. Prometheus definitely benefits from impressive visual design and cinematography from Arthur Max and Darius Wolski, respectively. It also does an exceptional job of revisiting the designs of H.R. Giger that were originally crafted for Alien. While there isn't much new design material here from Giger, seeing his ideas on screen again reminds you of what a unique and interesting designer he truly is.
Where Prometheus falls down, largely, is in the character department. Almost none of the main characters are really developed or given more than a cursory amount of personality. They are not neglected completely, but the audience doesn't really connect with them. Most of the development is given to Shaw and her search for answers about man's creation, but almost all the rest are provided with enough dialogue to serve the plot, and not a lot else. One of the most interesting characters in the film is actually the android David, who vacillates between being a helpful assistant to some of the humans to also having ulterior motives that may or may not be in the best interest of the crew. Fassbender does an exceptional job of making David have the outer appearance of warmth and congeniality, while hiding a cold, calculating core beneath the surface. David is a fascinating at times, and proves one of the more memorable elements in the film.
For those who are looking for Prometheus to give them some Alien action, they will have to make do with the suggestion of the film setting up some of the material of the first entry in that franchise. Prometheus does borrow some of the feel of the first Alien at times, especially in some middle scenes involving secondary crew members whose curiosity gets the best of them, but this film is not really an Alien movie, but a prequel in the truest sense of the word: it sets the table, but leaves before the meal is served.
Prometheus is a good, if unspectacular, science fiction film from director Scott that wants to play in the field of ideas and not just the space fantasy that many other films seem to be only interested in doing. While the lack of depth to the characters can at times keep the viewer at arm's length, in terms of look and feel, Prometheus delivers the goods. May Ridley Scott not wait another 30 years to re-enter the science fiction realm.
Opening in 2089 on Earth in Scotland, archeologists Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green) have discovered a similar pictorial representation of a star system at multiple scientific digs. Using this information, they have convinced aging wealthy industrialist Peter Weyland (Guy Pearce) to fund an expedition to the star system depicted in the images in the hopes of making contact with what Shaw and Holloway refer to as the "Engineers", aliens they think may have helped engineer the beginnings of life on Earth. Once they arrive on the planet, the team discovers large structures that contain various chambers and artifacts, mostly small canisters, as well as one decapitated alien body. In the course of engaging in their research and exploration, they find themselves hampered at times by the limitations placed on them by their corporate boss, Vickers (Charlize Theron), and are also helped by android David (Michael Fassbender). But, as things unfold, the motivations of some of the crew begin to come into question, and the things they discover on the planet make them begin to wonder if it was a trip that was wrong to make.
Prometheus is very interested in tackling some "big" issues: the origin of mankind, the mix of faith and science and the search for immortality. Unlike many other modern science-fiction films, it isn't all slam-bang, hyper edited action. In fact, much of Prometheus is comprised of scenes of dialogue and moments of characters pondering what they have discovered. Science fiction movies with a degree of wonder and introspection are a rare creature these days, so the fact that Prometheus seems genuinely interested in exploring some of these themes is impressive in and of itself.
Prometheus doesn't completely skimp on the scare quotient. While I would hardly describe it as a full on horror film, Prometheus has more than its share of jumps, tension and squirms, albeit these moments are often secondary to other elements in the film, but they deliver when necessary. Prometheus definitely benefits from impressive visual design and cinematography from Arthur Max and Darius Wolski, respectively. It also does an exceptional job of revisiting the designs of H.R. Giger that were originally crafted for Alien. While there isn't much new design material here from Giger, seeing his ideas on screen again reminds you of what a unique and interesting designer he truly is.
Where Prometheus falls down, largely, is in the character department. Almost none of the main characters are really developed or given more than a cursory amount of personality. They are not neglected completely, but the audience doesn't really connect with them. Most of the development is given to Shaw and her search for answers about man's creation, but almost all the rest are provided with enough dialogue to serve the plot, and not a lot else. One of the most interesting characters in the film is actually the android David, who vacillates between being a helpful assistant to some of the humans to also having ulterior motives that may or may not be in the best interest of the crew. Fassbender does an exceptional job of making David have the outer appearance of warmth and congeniality, while hiding a cold, calculating core beneath the surface. David is a fascinating at times, and proves one of the more memorable elements in the film.
For those who are looking for Prometheus to give them some Alien action, they will have to make do with the suggestion of the film setting up some of the material of the first entry in that franchise. Prometheus does borrow some of the feel of the first Alien at times, especially in some middle scenes involving secondary crew members whose curiosity gets the best of them, but this film is not really an Alien movie, but a prequel in the truest sense of the word: it sets the table, but leaves before the meal is served.
Prometheus is a good, if unspectacular, science fiction film from director Scott that wants to play in the field of ideas and not just the space fantasy that many other films seem to be only interested in doing. While the lack of depth to the characters can at times keep the viewer at arm's length, in terms of look and feel, Prometheus delivers the goods. May Ridley Scott not wait another 30 years to re-enter the science fiction realm.