Ridley Scott has always wanted to go back to the Alien franchise that began with his 1979 sci-fi staple. There have been a lot of coy discussions over whether his big-budget sci-fi spectacle Prometheus is indeed an Alien prequel or not. Scott keeps hinting it has the DNA of the franchise but exists on its own. This movie has some Big Questions on its mind, like where did we come from, but the biggest question out there is whether it really is an Alien prequel or not. Well rest assured, that question will be sufficiently answered. Now if you have more than that, you will be left empty-handed with this gorgeous but ultimately confounding sci-fi thriller.
In 2089, a team of archeologists, lead by Elizabeth Shaw (Noomi Rapace), discover an ancient star map from 30,000 years in mankind’s past. This is not the only ancient illustration displaying the same constellation. Sure enough, in every ancient civilization across the globe, the same star pattern. Shaw believes it is an invitation and th key to finding the “engineers” who may be responsible for life on Earth. Four years later, the wealthy Peter Weyland (Guy Pearce) has funded a trip to that exact point in space, which harbors a moon that seems extraordinarily like Earth and capable of sustaining life. The ship is run by Meredith Vickers (Charlize Theron). who keeps asserting her company’s authority on this mission. Along for the ride is a cocksure pilot (Idris Elba), an android named David (Michael Fassbender), and Shaw’s own lover, a scientist in his own right, Charlie Halloway (Logan Marshall-Green). When the gang gets to that moon, they uncover large buried structure with some nasty surprises inside. Suffice to say, they should have stayed home.
You can always count on Scott to deliver a visually extravagant picture, and Prometheus is packed with stunning, arresting visuals that fill up the big screen with lovely detail. The scale of some of these sets is massive, and your eyes just want to soak up every detail. The alien world is vast and eerie and you just want the characters to spend the rest of their lives exploring it (Scott shot in Iceland but it looks remarkably like a whole different world). The interior sets on the space ship are also sleek and cool. There’s a terrific sense of immersion in the movie. Scott has always done a great job at building worlds that feel completely lived-in, and Prometheus is another example of his talents. The special effects are astonishing but best when not dealing with the biological life forms. The giant spaceship is incredible; its inhabitants? Not so much. Apparently our DNA grandfathers looked like giant Michelin men (thankfully we take more after our mother’s side). Prometheus demands to be seen on the biggest screen possible.
Prometheus harkens back to the original Alien in its suspenseful “haunted house in space” setup. The movie has some terrifically taut moments and a great overwhelming sense of dread. The scientists let curiosity get the better of them, so they poke their heads in dark corners, touch unknown alien material, and get up close and personal with things better left unmolested. If slasher movies elicit a “Don’t go in there” audience response, then Prometheus certainly elicits a “Why are you touching that?” reaction. And yet, deep down, we want them to keep pushing further because like the best suspense films, we can’t stand the tension but we really want it to keep going. Probably the most memorable scene of them all involves Shaw performing her own hurried abdominal surgery to remove an alien from inside her. It’s creepy and caused me to wince repeatedly, but man is it fun and gruesome and a nice payoff to an earlier setup. The rest of the movie is pretty standard with its thrills, including the canon fodder supporting characters getting picked off unceremoniously, and the large-scale devastation climax. The movie delivers the goods when it comes to entertainment and suspense, though mostly in the first half. It’s almost like the movie is awed by the visuals as well, and then halfway in remembers, “Oh yeah, we got to do more than just poke at things,” and then it’s a rush to the end with a cascade of conflicts that don’t seem properly developed.
The film lays out a very essential question about the origins of mankind and plays around with theological concepts but it only plays in the shallow end of the philosophical pool. The screenplay by Jon Spaihts (The Darkest Hour) and Damon Lindelof (co-creator of TV’s Lost) deals with the conflicting origin stories via religion and observable science but never goes into specifics. “Religion” is always symbolized as a cross necklace that Shaw wears and her falling back point upon what she “chooses to believe.” The discovery that our alien forefathers have a similar appearance would be a huge revelation, except the movie spoils it with a clumsy prologue that shows us right off the bat what the “engineers” look like. Prometheus actually posits an Intelligent Design argument for human existence, albeit one the Raelians have been promoting for years, the idea that intelligent life outside our galaxy seeded Earth. Yet the one scientists on the crew, the one who objects to 300 years of evolutionary evidence, remains mum on the matter. I suppose the filmmakers didn’t want their monsters-in-space movie to be bogged down with that much pithy philosophy, but I would have appreciated some meatier conversations other than, “Should we touch this?” It’s not nearly as thought provoking or as compelling as it thinks it is.
As I sit here and I write this, the plot becomes a wispy memory of strong set pieces and eerie mood, but I cannot connect the story. It makes little sense and by the end of its 124 minutes we’re left with hardly any more answers than we started with (some spoilers to follow). Our genetic “engineers,” as they call them, remain pretty nebulous. I suppose one could argue that it would be impossible to fully understand an alien race’s habits and purposes without resorting to pandering, but that strikes me as a cop out (I’m reminded of Spielberg’s similar approach in Kingdom of the Crystal Skull, where the characters that wanted to know were punished for their intellectual curiosity by alien forces). Why did these super aliens create life on Earth and leave maps to a planet that was little more than a weapons depot? Why would these superior beings create life hundreds of thousands of years ago and then leave clues 35,000 years ago that would lead to the destruction of their little experiment? The motivation seems rather hazy. It’s not like the aliens created life on all these planets and waited to be contacted so that they knew their little biological Easy Bake oven was done and then they could reclaim a new planet. It’s not some imperialist empire or colonization scheme; it appears to just be wanton destruction. That seems like a waste of effort. Did these aliens keep checking back, see our ancestors hunting and gathering and go, “Oh my Space Deity, I can’t believe we created life on this planet? We were so wasted. Well, just wait until they conquer space travel and then we’ll kill them with a weird biological weapon.” If your desire is to destroy life, why even have a waiting period? If these “engineers” wanted to destroy Earth why not do it when there was far less clean up? Is there some kind of parent-child relationship I’m just not getting here?
Fassbender (X-Men: First Class) makes the biggest impression as the fastidious android, David. He’s by far the most interesting character and he’s not even human. It doesn’t take long to figure out that David has his own agenda, and Fassbender plays the character with this eerie passive-aggressive arrogance. You get the sensation that he looks down on his human clientele, but you don’t know what lengths he will go. “How far will you go to get your answers?” he asks before doing something very not nice. He makes statements like, “Who doesn’t want to kill their parents?” and there’s an icy placidity to him; he’s just off enough to be menacing and unsettling without going overboard. Fassbender is excellent.
The rest of the cast cannot be at fault for failing to measure up to Fassbender (is that a Shame joke I stumbled upon?). Rapace (Sherlock Holmes: A Game of Shadows) is given top billing and does an admirable job of being a kickass heroine, which we already knew she was fully capable of in the Swedish Girl with the Dragon Tattoo trilogy. She even has a Ripley-esque haircut, which I doubt is a coincidence. Theron (Snow White & the Huntsman) gets to once again practice her ice queen routine, but I wish she had more to do than occasionally glower and bark orders. Her character’s secret background should be obvious to anyone well versed in the film economy of characters. Elba (TV’s superior Luther) tries to stick it out with some twangy Texas accent but can’t make his way through. His natural British accent pokes through routinely. Then there’s Guy Pearce (Lockout) as the wealthy benefactor who bankrolled the whole project. Apparently he was hired to film viral videos as himself, because in the movie he’s like a 100-year-old man in some pretty poor makeup (he resembles old Biff in Back to the Future: Part 2). Why hire an actor of Pearce’s caliber if you’re just going to hide him under a veil of old-age makeup? The actors do what they can but the film doesn’t give them much to work with. They’re stock roles and absent development. You don’t notice for a long while because you’re so caught up in the exploration and the gorgeous visuals, but when the end comes you realize that you hardly knew these people.
After all the pre-release coyness about whether this belonged in the Alien universe, Prometheus seems to be a victim of its own sky-high hype. The movie is moody and dark and intriguing and visually magnificent, but the plot does not hang together at all. The central mystery of the origins of mankind is given a face to start with, but that’s about it. The confusing story tries to mask its plot holes but eventually they just overtake the movie. It’s an entertaining movie in the moment but Prometheus pretty much evaporates as soon as you leave the theater and start thinking, “Hey wait a minute, that didn’t make any sense.” Why are mankind’s “engineers” a regretful bunch of jerks? Scott’s visuals are impressive, the film has a killer mood that’s hard to shake, but the plot is pretty shaky and reliant on supposedly smart people making pretty dumb decisions (why yes, I’ll try and touch the alien snake monster thing). That’s fine for basic thrills but it doesn’t elevate the movie into something headier, meatier, and more satisfying, like the original Alien. Prometheus was never going to meet the unattainably high expectations of fans stoked by tremendous trailers and the promise of Scott’s triumphant return to sci-fi, but much like the characters in the film, I was glad to go on this journey but wished I had more to take home with me.
Nate’s Grade: B
Posted on June 12, 2012, in 2012 Movies and tagged aliens, charlize theron, idris elba, michael fassbender, noomi rapace, prequel, ridley scott, sci-fi, strong heroine. Bookmark the permalink. Leave a comment.