The year is 2089. Scientists have just uncovered caveman drawings which somehow depict a far-away star system. Fast forward a few years later and the scientists are on a ship to the star system, aiming to touch down on a planet remarkably like Earth. Fans of the franchise can probably already guess that the Weyland Corporation is footing the bill.
Ridley Scott’s Prometheus reminds me of The History Channel’s Ancient Aliens. Like that show, there are huge leaps of logic. 2001: A Space Odyssey was great because it found a way to balance Arthur C. Clarke’s rigorous science with Kubrick’s interest in mysticism. Prometheus, on the other hand, dumps the science entirely while crapping out unbelievable woo which doesn’t just aim to explain the origin of the aliens, but humanity itself. I just find it embarrassing that one of the most beloved science fiction franchises is now entwined with the idiotic pseudoscience made popular by Chariots of the Gods.
Scott plays well with the canon established since his original film, but Prometheus isn’t sure whether it wants to be a horror film, like the quiet original, or an action movie like James Cameron’s bombastic sequel. The result is a constant tug-of-war between the two styles, which makes for an unusual pace. If you’re expecting a tonal prequel to Alien or Aliens, you’re going to be disappointed, if not a little discombobulated. Having said that, it’s probably the most inspired effort since 1986, though with stinkers like Alien 3 and Resurrection, is that really saying much?
Charlize Theron has never seemed more robotic. (Perhaps she’s an android? If so, what the hell does that add?) In behind-the-scenes footage, producers claimed the writers fleshed out her character when they learned she was playing the part. If this is true, I can’t imagine how one-dimensional the character must have been in the first place.
Guy Pierce, playing the founder of Weyland Corporation, appears in old-age makeup that looks so phony you don’t accept him as a character, but an unnecessary special effect. There’s no need to have young men playing old men unless you see the character young and old in the same movie—even then, it’s almost always more effective when you just get two actors to… you know, act.
Meanwhile, the trailer gives away more than it should have, much more than I’m giving away here. If I say anymore about what I’m referring to, I’ll be spoiling it myself. But if you’ve seen the trailer and you have a decent memory, you’ll probably be able to put two and two together long before you were supposed to figure it out.
I do want to point out that Michael Fassbender as David the android is probably the most intriguing character of the entire seventeen-man crew, but most of that comes down to the mystery surrounding him. Does he have human emotions? If not, why does he act the way he does? Why does he idolize Peter O’Toole? Is he merely programmed to behave as if he idolizes O’Toole? The oddest thing about David is the fact he seems to be more advanced than Ian Holm’s depiction of Ash in the original film, which is set nearly a hundred years after this one.
At any rate, there’s quite a bit good in Prometheus, too, but I don’t want to spoil the fun. It’s not good enough to be a classic, but it’s good enough to go see it in theaters.
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