In 2089, a team of scientists led by Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green) discover cave drawings that appear to form a clue to the origins of mankind on Earth. Shaw believes that the beings indicated on the paintings have visited Earth and are inviting us to their planet. Cut to 2093, on board the spaceship Prometheus (named after the Greek god who gave fire to mortal man), the scientists and small crew are heading towards the distant star system. As the crew awake from hyper sleep we are introduced to Meredith Vickers (Charlize Theron), the chief executive of the Weyland Corp., the mega-corporation funding the mission, Janek (Idris Elba), the ship’s captain, and other token crew members. Vickers is the corporate face of Weyland Corp., she’s remote, cold and dismissive, mainly of the Shaw and Holloways theory.
The other crew member is David (Michael Fassbender), an android with a penchant for Peter O’Toole’s Lawrence of Arabia, a quick, dry wit and more unnervingly, a hidden agenda.
Shaw and Holloway disagree on precisely where we came from and how, they believe these visitors hold the key. At stake is the origin of human creation itself.
When they arrive at moon LV-233 they find a huge alien labyrinthine construction in which they hope to find answers… however, they must fight to save the future of the human race.
Ridley Scott, director of Alien and Blade Runner, returns to the genre he helped define with those early landmark films. With Prometheus, he creates another beautifully rendered near future. The cinematography, sets, props and costumes are all superb and set a new bench mark, as do the exemplary special effects which blend beautifully .
Its Scott’s best movie since American Gangster (2007), however it doesn’t quite manage to reach the heights achieved by his breakthrough original. Having said that, Prometheus came pre-loaded with so much hype and expectation, partially tempered by Ridley denying this was a direct prequel to Alien, that it would be almost impossible for the film to deliver on all fronts. There are a few incredible set-pieces unlike anything you’ve ever seen before that have to be seen to be believed. No spoilers here.
The cast are good, Noomi Rapace is a strong, believable lead, Theron is suitably cold, however Michael Fassbender steals the movie, his android is not as cold as HAL (2001), or Ash (Alien) or as likeable as Bishop (Aliens), he reminded me more of David from Spielberg’s Artificial Intelligence, I can’t recall him blinking. After the film ended I wondered how his character would/could fare in Scotts proposed Blade Runner sequel.
The script was reworked from a direct Alien prequel into a standalone effort that remains firmly within the same universe. This is the film’s smartest idea, as it immediately removes the usual prequel shortcomings of your audience knowing exactly how it’s going to end. However, while striving for its own identity, it still references to both Alien and James Camerons sequel Aliens. The screenplay, credited to both Jon Spaihts (who apparently wrote the first, more prequel-like draft) and Damon Lindelof (who revised the story and mythology), is an uneven affair. The general plot structure is solid, but some characters are underdeveloped and given some poor dialogue. Not all bad, however, as Scott is so adept at creating incredible imagery that it is easy to ‘go along for the ride’ and enjoy the film as a visual spectacle.
Big ideas are thrown around, the creation of human life, God, Darwinism and more; there are more questions posed than answered, which isn’t necessarily a bad thing, although I’d expect answers from the inevitable sequel, to the not-direct-prequel.
I can see it annoying some viewers, I really enjoyed it and overall I loved it as a spectacle; it’s not as smart as it set out to be, but it’s still better than most of the other sci-fi we’ve seen lately, and the 3rd best Alien movie of the franchise.
Quality: 3 Stars
Any Good: 4 Stars