“Prometheus” isn’t a total wash-out but as a companion piece to Scott’s series-opening movie in 1979, it so completely fails to live up that movie’s enduring excellence that its existence can be owed mostly to Fox wanting a sci-fi summer blockbuster and Scott feeling that it was time to dip his toes back into xenomorphic murky waters.
The good parts? Production design is amazing – the clean sleekness of the “Prometheus” ship is the reverse of the lived-in, grotty, ‘haulage vessel-in-space’ environment’ created by Scott and his craftsmen in the first movie but is no less convincing and eye-catching. Similarly, the alien structures echo the past but somehow manage to be new and different enough to convince you that you’re not just checking out Giger off-cuts from 1979.
Effects are excellent for the most part – there’s a particular make-up job which I had some reservations about – and the sound mixing is amongst the best that I’ve heard in a theatre since, ooh, “Black Hawk Down“. Yeah, Scott and his sound team know how to make your ears sit up and pay attention.
The acting’s pretty decent – with a single caveat. Noomi Rapace‘s heroine, Dr Elizabeth Shaw is an excellent character study to join Sigourney Weaver‘s iconic Warrant Officer Ellen Ripley. She’s a person of faith thrown into a conundrum which challenges her assumptions and sends her on a ride through a very demanding, quite personal Hell. Rapace is captivating in every thing that I’ve seen her in, but she’s perhaps the single-best thing about this opening visit to the “Alien” universe.
Similarly, Idris Elba convinces as stoic ship captain Janek, as is Charlize Theron, who plays the traditional role of buttoned-up corporate weasel, Vickers and gets to add colours and tones of underpinning decency and humanity which previous emissaries of the Weyland company haven’t been allowed to show. Michael Fassbender is also superb as the creepy, box-fresh, Peter O’ Toole channelling android, David.
On the debit side, Logan Marshall-Green didn’t do anything for me – his scientist character doesn’t really register next to Rapace and brought to mind the dreaded Matthew McConaghey during his frequent moments of shirtless pouting. He may be a very fine actor in different material – but in this, he’s a set of abs with no discernible personality to distinguish himself from A.N. Other young male actor.
The biggest problem with the film is the screenplay – it just doesn’t have a very interesting story until the proverbial last gasp of the film. The core theme – were we created by a divine being or by extra-terrestrial engineers engaging in inter-stellar DNA experiments? – isn’t dealt with particularly well and the exploratory tone of the first half of the film soon gets jettisoned in favour of the body horror and revulsion at human physical decay which we encounter in a lot of the series.
When the gloop starts to hit the screen my interest waned, particularly as the gore and grue isn’t as inventive or well-realised as it was in “Alien”. There’s one particular scene – I’ll say the words ‘non-elective surgery’ and leave it at that – which was a trial to sit through. In some ways, it may become the classic scene of this film but I found it messy and gross, if adhering closely to some of the memorable moments of the “Alien” sequence.
The ending is…okay, actually. It promises a much more interesting entry in the series than this film delivers. I’d rather that we skipped this movie entirely and cut-and-pasted the best bits of this film into a pre-credit sequence for that hypothetical sequel.
Oh, Ridley, what are we to say of this film. If you’re an “Alien” fan, you would be daft to miss it, particularly on the big screen. If the series means nothing to you, there’s every chance that you might see this film and wonder what all the fan boys have been wittering on about all these years.