June 4th, 2012 
James Shotwell 
Film: Prometheus
Starring: Noomi Rapace, Logan Marshall-Green and Michael Fassbender
Directed by: Ridley Scott
There’s an Alien-shaped elephant in the room. Two viewings of this film later, I still haven’t quite formed a proper opinion. Let this not dismay or beguile you – it seems to be divisive, and even after prolonged analysis and breakdowns with my friend last night (cos we know how to have a happening weekend), I’m still no closer to deciding whether I like it or not. Prometheus is, objectively speaking, a good film. I wouldn’t go as far as to call it very good, but it has plenty of worthy traits and moments that deserve celebrating. It’s bold and expansive and unafraid to stir deep consideration and reflection, as the above discussion session indicates. However, it is perhaps too unwilling to complete the questions it asks or the scenarios it raises, and in its haphazard exploration of same leaves one feeling largely underwhelmed or even disappointed.
Prometheus is, as most of us know, a loose prequel to Ridley Scott’s seminal Alien. It is set in the same universe and follows the crew of the titular spaceship as they make their way to a distant planet named LV-223 in search of a group of ‘Engineers,’ believed to have spawned mankind. The crew includes archaeologists Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green), captain Janek (Idris Elba), and the ship’s robot David (Michael Fassbender). The Weyland Corporation, who have funded the mission, also send along their executive Meredith Vickers (Charlize Theron). Drs. Shaw and Holloway have found a series of cave drawings and murals across different civilisations on Earth, all of which point to interstellar visitors and seem to invite humanity to come and look for them. The aforementioned LV-223 – a different planet entirely to the LV-426 of Alien and Aliens – is the only planet that seems to match the star-scape left in these drawings. For Shaw, it’s a deeply personal journey, as she explores her faith in God in the context of these discoveries. Others however have shadier agendas, particularly the mysterious Vickers and the corporation she represents.
Visually, Prometheus is stunning from the off, as a sweeping prologue offers panoramic vistas of what seems to be a prehistoric Earth (no spoilers there, worry not). The cinematography is lush and atmospheric, creating a starkly elegant and immersive world. The glimmering modernity of the Prometheus is striking when compared with the bleak practicality of the Nostromo, almost as if to reflect the more exalted aspirations of the characters. However, the aesthetic virtues of the film aren’t enough to conceal more than a few gaping faults. For starters, it’s shoddily written and the characters are thinly-drawn and very poorly served. It has none of the creeping sense of dread of Alien and even despite assertions that it wasn’t intended to be a direct prequel, this is disappointing. The film lacks real character of its own, stumbling nonchalantly from event to event and plot device to plot device, without ever mustering any real suspense. It seems that it can’t decide whether it wants to be a bold science-fiction film, with all the themes and philosophizing that entails, or an atypically-set horror. For much of the film’s first half, it is very difficult to even like many of the characters – Vickers is too cold and Machiavellian, Shaw too naive and idealistic, Holloway reckless and unthinking. Others seem to be half-heartedly introduced merely to act as cannon fodder when the nasties crawl out of the woodwork (Rafe Spall’s biologist and Sean Harris’ geologist are very bumbling for two alleged scientists). This isn’t the fault of the performances but rather the script, which bears the telltale residue of the film’s inception as a closer associate to Alien. In its inability to settle on one specific mood and narrative, it never shakes off the anticipation of something bigger and better and the film feels half-hearted as a result.
There are saving graces – Michael Fassbender is phenomenal as the curious David, a character whose behavior raises a multitude of questions in itself. If you come away with nothing else, his motives and actions will have you wondering for days. The ideas are commendably ambitious, although their execution is poor. One particular character – whom I won’t name or discuss here lest I give too much away – is all kinds of bizarre and certain incidents (they play by hologram, watch out for this) regarding his brethren raise intrigue but no explanation. Certain intriguing plot strands are raised (such as Shaw’s being infertile) but inadequately explored, often turning out to be merely an early and meagre explanation for a later event.
In truth, it is difficult to break this film down without spoiling a great deal of it, but it should be noted that taking a dislike to it doesn’t necessarily mean you’re disappointed at it not being a direct prequel. Prometheus is a good but unsatisfying film in and of itself, haunted by the visions and concepts it can’t quite realize. That it poses so many questions may be intentional, as success will undoubtedly spawn sequels. However, it also strips too much away from the movie’s make-up and leaves it feeling thin, undernourished, and at times hopelessly uninvolving. Regardless, no matter what you’ve read make sure to go in with an open mind and you may be blown away as much as you may be disappointed. My mum, a Ridley Scott connoisseur, loved it and there was sufficient gore to ensure she’ll be put off cauliflower again just as she was when Alien itself came out.
Review written by Grace Duffy
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