REVIEW: Prometheus

Prometheus
Directed by: Ridley Scott
Written by: Damon Lindelof and Jon Spaihts (screenplay)
Starring: Noomi Rapace, Logan Marshall-Green, Charlize Theron and Michael Fassbender

Shortly after making his break into the film industry Ridley Scott came across a film titled Star Wars that would rouse him to make Alien, an iconic, genre-defining sci-fi film of his own. Thirty years passed while Scott ventured into mastering other genres—his only other trip to the future being Blade Runner— until he saw another revolutionary sci-fi film that inspired him to take on the genre once again: Avatar.

Three years and dimensions later we have Prometheus, one of the most immersive and gleaming 3D sagas since Cameron’s Avatar set the bar (it’s a fun fact to note that Cameron’s breakout film was Aliens, the sequel to Scott’s original). In what will continue to be feverously debated as his prequel to Alien, Scott pools talents and ideas from various great modern sci-fi to amass an intense, hardwired summer blunder that doesn’t take itself serious enough at times to become as classic as it should.

Prometheus takes place in 2089, a few decades before Alien, when archeologists Shaw (Rapace) and Holloway (Marshall-Green) discover prehistoric wall paintings that suggest an interaction between early civilizations and other worldly life. Left with a hieroglyphic road map to outer space, they are joined by a J.J. Abrams rag tag team with bad accents and poor judgment, a sinisterly adorable robot named David (Fassbender) and the heir (Theron) to the Weyland Corporation that funded the trillion-dollar exploration to seek answers to the universe’s greatest question: how did we get here?

In a genre where everyone seems to be taking influences from everyone (including themselves), Prometheus proves itself a pioneer in atmosphere, aesthetic and marvel while other elements like pathos and consistency weigh down its potential. But that’s not to say Prometheus is by any means a weak film.

Exploring themes of creationism, religion and humanity give the creature feature purpose and prose, but it never lives up to the intensity created technically in the film.

Much of the blame for the film’s lackluster script goes to its co-author Damon Lindelof, who penned and produced similar cryptic mythologies and philosophical puzzles brilliantly on TV’s Lost. Just like the show, the film is interested in posing grand questions and answering each with two more questions— it’s deep and clever without ever being intelligent. Luckily the visuals and acting hide the audible cheese uttered by “first to die” team used to pander to universal audiences.

The script wants to have fun, but it’s at its best when it’s not. Its highlights include its most intense moments and gore. Rapace, Theron and Fassbender all make an undeniably all-star cast of expert focus plunging in and out of Scott’s beautifully crafted set pieces that never leave you at ease. And while we may not have gotten the answers we wanted, we’ll just have to enjoy the film for what it is now and wait for what the future may behold… sequels.

Grade: B-

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