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Prometheus

2012 film Directed by Ridley Scott.

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Scott approaches greatness again, yet...

Jun 21, 2012

by rbuchanan
posted in Movie Hype

Rating:

Exiting a screening of Ridley Scott's ludicrous, inexplicably acclaimed sword-and-sandal epic twelve years ago, I vowed never again to pay for the trial of enduring one of his movies. Both then and now, most entries of Scott's filmography following his first three miraculous features are at best underwhelming. Though he's never demeaned himself by defecating Baysian action tripe as his sibling Tony does so often, Scott has turned out an appalling abundance of fatuous genre pictures: derivative, bloodless crime dramas (Someone to Watch Over Me, Black Rain, American Gangster, Body of Lies); obnoxious, misguided feminist concessions (Thelma & Louise, G.I. Jane); visually sumptuous yet dramatically empty and woefully inaccurate period adventures (1492: Conquest of Paradise, the aforementioned Gladiator, Kingdom of Heaven, Robin Hood); worse of all, a pair of clumsy, painfully unfunny comedies (Matchstick Men, the abominable A Good Year). However, Scott's two early works of science fiction cinema are not merely among the finest of that genre and deserving of their tremendous popularity, but also admirable assays of filmic horror and crime. What's more, the veteran director's recension of these classics is quite the opposite of George Lucas' bungled Star Wars revisions: his director's cuts of Alien and Blade Runner are exemplary, absterged of objectionable elements and seamlessly subsuming previously cut footage that augmented both films' subtexts and impact. Better still, neither were intended as replacements for their theatrical antecedents.

Scott's shrinking yet devoted fanbase has defended the aging filmmaker for decades; when engaging one of his fans in argument, one can always concede that an oeuvre of three great works and at least fifteen resounding artistic failures yields not so bad a ratio by current standards. Considering this substandard output in addition to to two abysmal latter Alien sequels (Joss Whedon being at least so responsible as Jean-Pierre Jeunet for the abject idiocy of the last, despite his inarticulate falsehoods otherwise), can a divergent precursor of the venerated first picture generate sufficient interest among its enthusiasts? On the strengths of the Alien director's cut and promise of some notable assembled talent, this reviewer revoked an oath of a decade and two years prior, and justifiably so. By its faults, Prometheus is denied indisputable grandeur, yet its colossal proportions, magnificent conceptual scope and assiduous realization may well instill some awe in even the most jaded cineast.

In rural Scotland of 2089, a pair of archaeologists (Noomi Rapace, Logan Marshall-Green) discover a peculiar cave drawing depicting a star map identical to others unearthed at numerous locales across the planet. Having identified a location specified in these ancient illustrations, they embark on a journey of two years to a small, distant moon courtesy of the superannuated CEO (Guy Pierce, nigh-unrecognizable beneath elaborate makeup) of a massive corporation (Weyland, precedent of notorious, interstellar, terraforming conglomerate Weyland-Yutani). Under the inflexible authority of a frigid mission director (Charlize Theron), the crew of spacecraft Prometheus (so christened to reflect its mission's exploratory ambitions) is comprised of its captain (Idris Elba), two pilots (Emun Elliott and Benedict Wong), a medical officer (Kate Dickey), a biologist (Rafe Spall) and geologist (Sean Harris), and the aforementioned archaeological pioneers. Secrets extracted upon and within the planetoid provide unimpeachable evidence of mankind's origins, exceeding expectations and dashing hopes of benevolent higher intelligence elsewhere in the galaxy.

None of Prometheus' philosophical themes or physiological implications are reconciled or addressed satisfactorily - a limitation that both compliments and impairs its audacious narrative. Those seeking an exposition concerning the species of Alien's space jockey will undoubtedly be wholly satisfied. Perhaps the movie's best aspect is a retention of mystery: to provoke its viewers' imaginations, it presents at least so many questions as answers. Readers of Lovecraft will hardly find its otherworldly enigmas and adventuresome dread especially novel; At the Mountains of Madness and Dune are perhaps its most cognate literary equivalents and influences, from which screenwriters Jon Spaihts and Damon Lindelof owe a heavy debt to Lovecraft and Herbert for their historied fantasies of alien ecology, biology, technology and culture traced from inception to apex to ruination.

If Scott has demonstrated any expertise, it is indisputably that of a filmmaker whose fabricated worlds are conferred the most exquisite detail and immersing quality. A skilled illustrator, he draws nearly all of his own storyboards and has interacted successfully with no small number of design and effects luminaries. Here, the photography of Dariusz Wolski (likely the most unremarkable competent DP of his field) is typically faultless and drab, but he was wisely chosen - his invariably muted hues complement this story's foreboding ambiance and environments. However, Arthur Max's production design and the efforts of the extensive art and effects departments bore terrific fruit. Prometheus boasts enormous, spectacular sets, most of which are visually astonishing and entirely credible. Although the titular vessel features many design elements first seen in its utilitarian successor Nostromo as designed by Jean Giraud, Chris Foss, and Ron Cobb, its more advanced navigational interfaces and investigative apparatuses may be attributed to its specialized purpose - one hardly considered by the crew of a cargo tug! The extraterrestrial interiors are gargantuan, redolent of millennial inertia, supreme advancement and unimaginable peril. Most wondrous of the many discoveries therein is the activation of an elaborate, projected galactic orrery of three dimensions, as beautiful as suggestive of boundless purpose. Original creatures designed by Conor O'Sullivan, Carlos Huante and Neal Scanlan under Max's supervision are hardly so innovative as those of H.R. Giger (which are featured throughout), but nonetheless intelligently conceived and appropriately gruesome. Janty Yates' attractive, lithe spacesuits grant the cast comfortable mobility, but introduce at least one question of continuity: why were those of the Nostromo's crew so cumbersome?
Should this production be faulted, blame must be assigned to its aural elements. Marc Streitenfeld's score is lush, lovely and not at all intrinsically obtrusive, cleverly quoting Jerry Goldsmith's classic Alien score at least once...but it's overused in almost every scene by Scott, who's apparently forgotten the provocative effect of silence so efficaciously exploited in his great first few flicks. Worse, the sound design is evocative but too prominent - chewing, vomiting, squirming, slithering, pounding noises are both too loud and prevalent, and silly besides.

While I can readily accept Ridley Scott as a movie maker who routinely cultivates visual splendor, I cannot assent to the absurd notion that he is or has ever been an actor's director. Few directors of any credibility have coaxed so many awful performances from so many actors, many of whom were otherwise reputable. At the early peak of his powers, Scott wisely afforded the best performers available to him (Keitel, Weaver, Hurt, Hauer, et al.) carte blanche with fantastic results. Were he still so inclined, and more great Anglophone actors available to him, Prometheus wouldn't be burdened by so much overacting. If Rapace imparts no great depth to her role, her histrionics in two scenes of harrowing suspense do distinguish an otherwise unexceptional adequacy. Unfortunately, her partner in excavation and romance as portrayed by Marshall-Green is too vulgar to receive seriously, which leads one to ask why he and his interdisciplinary male colleagues comport themselves like frat boys rather than scientists. Worst of this lot is hammy Sean Harris, as angst-ridden as a teen following the confiscation of his iPod and bedecked with red mohawk and facial tattoos. No geologist known to me appears or postures so, and if Scott, Spaihts and Lindelof deem this a legitimate means to bestow personality to their cast, they've descended to Roland Emmerich's low standards. Despite some rather stupid dialogue assigned her that she delivers well, Theron is convincingly malefic as the mission's authoritarian ice queen, and certainly more memorable than the remainder of the ship's crew. I'm not yet entirely convinced that Michael Fassbender is the savior of the western world in light of its contemporary dearth of great screen thespians, only because my exposure to his potent talent is limited to two very fine Steve McQueen offerings. In this franchise, his performance is second only to that of Ian Holm's as requisite android of the mission, and every bit so nuanced. Fassbender's cunning, unfailingly polite robot is cool (never stiff) in imitation of human behavior (especially Peter O'Toole's Lawrence), and subtly expressive of amusement, offense borne and an understated hint of contempt. Perhaps the script's greatest profundity can be evinced in the contrast of Fassbender's relationship with his creators to they with theirs.

Despite its flaws, Prometheus provides its viewers a fine, richly mounted cinematic undertaking commendable for its prodigious sights, stimulating exploration of eternal themes and at least a couple of very good performances. It is unnervingly suspenseful, if very seldom frightening. Possibly its very worst failure is a shift from morbid fascination to contrived heroics during its final twenty minutes, in which plot holes abound. In lieu of an ominous, ambiguous denouement, Scott cheaply spoon-feeds his audience selfless victory by explosion and closure suggesting the possibility of a sequel.

Lovecraft's intrepid characters guided his readers to worlds both known and enigmatic, witness to outlandish auspice and atrocity. Those most fortunate among them were left traumatized, while his hapless were devoured by either what they sought or far worse beyond. By confronting the cosmic unknown of a titanic scale, Scott aspired to create a legend; in suggesting that humanity may intervene meaningfully in its affairs, he fell far short.

Perhaps it ought have been titled Icarus.

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Sheri_in_Reho September 10, 2012

That's a lot of reading to try to figure out what you liked/disliked about one particular movie (I think it would have been more appropriately split into a review of the director, about whom you have much to say, and a review of the movie itself)! Nonetheless, I think I got what I came for. Thanks.

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mikedraper June 28, 2012

What a detailed review, it sure shows a lot of thought and work.

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Annusya June 22, 2012

Outstanding! :D Fantastic! :D Yaysies! :D

Muuuuuuuuuuuuuuuuuu! ^-^

♥ Annusya ♥

rbuchanan June 22, 2012

BAAAAWS
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You are a baby goat!

BAAAAWS

*smooches*
*snuggles*
*spins*

Annusya June 22, 2012

MUUUUU! :D *paws paws pawwwwsies*

YOU are a baby goat *alsosies*! ^-^

Baaaaaaaaawwwsies

*smuuuchies*
*snugglesies*
*weeeeeeeeeeee!* ^-^

♥ Annusya ♥

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woopak_the_thrill June 21, 2012

Great observations and I liked your mention of Lovecraft. Your opening paragraph cracked me up--"Baysian action...." LOL! Have you seen the director's cut of "Kingdom of Heaven"? Totally different movie from the theatrical release? I was about to feature one of your recent reviews tomorrow, but this review would be much cooler then :)

rbuchanan June 22, 2012

Well, thank you very much! I've not seen the Kingdom of Heaven director's cut, but I know of it...if you recommend it, I'm willing to give it a spin, as I know how disappointed Scott was with the theatrical cut. Anyhow, you've my gratitude for both further exposure and some delay theretofore...my first draft posted here was by no means up to par!

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About the reviewer

Robert Buchanan (rbuchanan)
Ranked #35

My personality type is INTJ. I'm a bibliophile. I like cats!