PROMETHEUS

APPROACH WITH AN OPEN MIND

THEATRICAL REVIEW
By Jess Fenton
5th June 2012

It’s not an ‘Alien’ prequel and it’s certainly not a sequel, but as Ridley Scott, the director of the new Sci-Fi epic ‘Prometheus’ says, it exists within the same world. So what is it then? ‘Prometheus’ is all about answers.

After exhausting divine and Darwinian theories when it comes to our “maker”, two archeologists Dr Elizabeth Shaw (Noomi Rapace) and Dr Charlie Holloway (Logan Marshall-Green) turn to their extensive research into cave wall pictograms. Drawings depicting larger-than-normal human beings pointing to a star cluster outside our galaxy are common finds in ancient civilisations, even though they're separated by time and geography. The doctors believe these images are an invitation to finally meet their makers, whom they call “Engineers”.

'PROMETHEUS' INTERNATIONAL TRAILER

Fast forward almost five years, and a trillion dollar space expedition is underway to find said stars. But when they do, the team of the spaceship Prometheus discover more questions than answers, along with answers to their questions they weren’t prepared to receive - aided by an eclectic crew of navigators, a geologist, a free-spirited captain (Idris Elba), a hard-arse head of the expedition (Charlize Theron) and a highly advanced android called David (Michael Fassbender).

Scott’s eyes seem to have been bigger than his stomach when returning to the genre and world he helped define. The existential premise of the film, while strong, quickly looses steam with each character's murky motivations married with the confusing and often unclear plot. ‘Prometheus’ starts strong but becomes uneven in the second half, featuring a slew of anti-climactic “big” moments, sloppy character conclusions and stories in favour of moving quickly to the next moment. The film finishes with an open ending, leaving more than enough space for the film's inevitable sequels.

Scott’s eyes seem to have been bigger than his stomach when returning to the genre and world he helped define.

On the other hand, the visual effects are a true feast for anyone's eyes, and are worthy of the price of admission alone.

Noomi Rapace proves that her stunning turn as Lisbeth Salander in the Millennium Trilogy was no fluke, and once again Michael Fassbender’s talents know no bounds.

Go into this one believing it is a completely standalone film from the ‘Alien’ franchise and/or for the spectacular visuals and you’ll be fine.

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