Ghoul's rating: 3/5
PROMETHEUS is pretty far from what it could and
should have been, and from what we had the right to expect from Ridley Scott
and his premise. However,
despite all its problems, it still represents a very rare, almost unique breed
of filmmaking which definitely deserves to be enjoyed in the cinema theater,
not at home. That
which is undoubtedly great - pompous scenery, spectacular space ships, alien
landscapes, special effects and the like - can be experienced only on
the big screen. If
you should see one movie in the cinema in the coming days / weeks, it's
definitely PROMETHEUS. But
do not forget to enter the cinema with reduced expectations. Try not to be
influenced by the hype machine and, if possible, to forget the heights achieved
by ALIEN and BLADE RUNNER some 30-35 years ago. PROMETHEUS
is a decent, intriguing, somewhat exciting film, but it's far from a
masterpiece.
It is good enough that it shouldn't be spoilt for
you, and I certainly don't want to do that. This is the reason why, instead of
a thorough analysis, at this point I offer only the listing of the film's major
qualities and faults, without arguments, examples and spoiler material which
would be inevitable if I were to illustrate my points with examples from the
film.
So, these are the best elements of the film:
+ A good concept, intriguing ideas, more
(sporadic) intelligence displayed than in the average recent American blockbuster.
+ Excellent visual component, especially in areas
based on the designs by H. R. Giger.
+ Exceptional visual effects, excellent make-up
efx and creatures.
+ Intriguing character of David (the android) and wonderful
acting by Michael Fassbender portraying him.
+ At least one "mystery" from ALIEN is
now clarified: the nature and purpose of the "Space
Jockey", and indirectly, those of alien xenomorphs themselves.
+ Good pacing, no boredom; a fluent and
entertaining film.
On the other hand, these are the film's main
problems:
- Viewed as a prequel to ALIEN (which it
definitely is), PROMETHEUS is unsatisfactory both in terms of ideas and overall
effect.
- The plot is designed as if this were a pilot
episode for a series, not a separate film; too many crucial issues at the core
of the plot remain vague, underdeveloped and unsatisfying.
- A number of illogical situations and unmotivated
behavior, inadequate to the context, including an amazingly chaotic disregard for
basic procedures appropriate for such an expedition (security, weapons,
quarantine, the principle of subordination, command line, etc).
- Blatantly unfounded and unconvincing motivation for
the trillionaire Weyland to jumpstart the entire long, complicated and
expensive expedition, which motivation remains unchallenged even when the
hostile nature of the planet's environment and the Engineers themselves become
more than apparent.
- Ambivalent, vague motivation for the android.
- Too much freedom in the departments of physics
and physiology of both human and nonhuman organisms; credibility and physical
probability are dramatically stretched almost to the realm of miracles and
fairy tales.
- Lack of clear and firm rules regarding the
"anything goes" liquid in the alien vessels; haphazard modes of reproduction
and life cycles of different creatures resulting from contact with it.
- The conclusion is too rushed, with plenty of
action, sound and fury, but with progressively less and less sense, tension and
emotional involvement towards the end.
- A terribly bad ending (the last five minutes).
- Not enough Giger: they re-used his old,
well-known designs for ALIEN, but they did not hire him to produce anything
really new and unseen. The non-Giger visuals are okay, but far from memorable
and unique like Giger's.
To conclude: it is fine to see a film brave enough
to be playful with big questions and occasional nihilism and blasphemy, but
it's a pity that nothing much is really done with those, probably leaving a lot
for the sequel which may or may not happen. The film's main problem is trying
to merge an ALIEN-like horror film with a concept which would've been better
off without the forced links to ALIEN mythology. The result is neither a
gripping, suspenseful horror nor is it a very clever Sci-Fi film of big ideas: PROMETHEUS
is middling in both departments. Still, it is not entirely a failure, there is some
courage and cleverness amid the silly clichés and forced scenes, and PROMETHEUS
deserves to be seen – but, like I said, with lowered expectations.
