Film Review: Prometheus

My anticipation for this film reached a crescendo in the two weeks preceding its release. Alien and Aliens remained in a consistent rotation, shifting between theatrical and director’s cuts at a whim. The lesser however note worthy Alien3 even saw some time, though none was wasted on the dismal fourth entry. As a series that has both terrified and intrigued me from a young age, Prometheus stood for me, like so many, as a possible return to form. Many of these expectations were met, some even exceeded, while some remained unmet. Many a complaint has been aimed at its perceived sloppy storytelling. Despite Scott’s notorious genre dabbling not always yielding the best results, his earlier forays into science fiction are considered among the crowning achievements of the genre. Prometheus is such an achievement. The film seduced me with a sense of awe not felt since the Moria sequence in The Fellowship of the Rings a decade ago. It in this aspect that Prometheus is in part Alien’s antithesis, retaining the terror while replacing the claustrophobia with a wondrous vertigo. The original’s muted, plodding score is met with sweeping pieces that evoke the dreamy ways of the unknown. Prometheus is likely to be the most underrated and misunderstood film of the year.

Many of the popular reviews level a myriad of praises and critiques at the film and each seems to touch on aspects of the film in different ways. In vain of Scott’s attempts to make us believe Prometheus was but a distant relative to Alien, the film is rife with allusions that say otherwise. In its basest form it is a prequel that expands with careful consideration on its source. The film is both homage and elaboration, making its own way while making generous nods to the first three Alien films. Nods that are intended for those intimate with the franchise. In doing this, Prometheus is not just an expansion of the original, but also its best sequels, particularly Aliens. Its respect for the continuity was one of my major hopes for Prometheus and I consider that hope answered. Much of this stems from me wanting a satisfying continuation (or preparation in this case) of the xenomorph mythos that is able to smother the utter ineptitude of Alien Resurrection. Prometheus is not the masterpiece that the first two films are but will be a misunderstood film along the lines of Alien3 (mind you Prometheus is much better). Both films try to replicate the horror and mood of the original. Alien3’s attempt overshot itself into nihilistic territory, while Prometheus sprinkles it throughout with varying results. These results fall short of replication only to feel like homages. Due to three decades’ worth of fandom, Scott tries too hard at times to honor Alien while telling a standalone story. In its respect it does a commendable job blending the first film’s affinity for body horror and the second’s action set pieces. Its most horrifying moments are appreciatively at times on par with the original’s chestburster sequence.

What I think makes Prometheus work is its ideas. Scott’s storytelling is at times too subtle and those seeking connections to Alien may overlook allusions to continuity. One critique is a common and true one leveled at the Star Wars prequels: the variable differences in the technology portrayed in the two films. There are two answers to this complaint and though said answers can seen as obvious and reaching, I will share them regardless. First, it would be nonsensical to make a 2012 film look contemporaneously like a film from the late 70s. Second, the differences in technology within the story reflect the occupations of the characters. In Alien we have the dirty towing vessel Nostromo, filled with machinery long ago considered real world relics of their forms. Nostromo and its crew do dirty, blue collar work and require less than elaborate means to achieve this. Compare to the deliberately and declared nature of the Prometheus’s crew, personally funded by a corporate mogul. The Nostromo happens upon celestial monsters, while Prometheus seeks it out. With the latter’s preparation comes technology suitable for the job and considering the complexity of science, the needed tools should be fancy. In this same regard, Scott makes sure to allude to the chronological relation of his two movies. A perfect example are the advancements made to reduce the effects of cryosleep on the body in the time between Prometheus and Alien. In the former we see them wake up wet and sick, while in the latter awaken dry and comfortable. It may not be stated outright but please compare to the similarly alluded to improvements made in faster than light spacecraft between Alien and Aliens. Considering the leaps and bounds technology has been making over recent decades, I find this idea digestible.

Prometheus poses some grandiose ideas and while it may sometimes suspend story in explaining them, the film’s message is made clear. The origins of human life stands as one of existence’s greatest questions and the film tackles it full force. It likes to ask many questions on the subject and answer few. Compare this to just how unanswerable our origins and “God’s” existence are. Prometheus is about asking the questions that won’t always have answers. That aspect observes just how wonderful it works as sci-fi with philosophical intent, adding to the original’s moral xenophobia with dueling theism and creationism. Humans and xenomorphs are shown to share a loose ancestry, adding a nice flavor to our physical similarities. It also begs the question that if the xenomorphs are living weapons, what are we in the eyes of our creators? Though its has annoying but obligatory sequel opening moment, it stands successfully on its own legs. The cast is among the best, with Noomie Rapace a daring Ripley Jr. and Michael Fassbender a very believable android. Logan Marshall-Green’s performance was easily the worst offered and while not the worst ever, I can’t help but see him as a less talented version of Tom Hardy. As a person who prefers puppetry, animatronics, matte paintings and real locations to CGI anything, Prometheus stands as one of the few films to make smart use of the much abused medium. I am convinced of its reality and accept it. In terms of overall design, Prometheus looks a temporal relative to Alien: a much appreciated facet. It is visually flawless.

Prometheus may be leaving a bitter taste in some mouths now, I foresee it receiving better recognition with age. While not reaching the levels of the earliest installments, it towers above the attempts of the fourth installment and the Alien versus Predator movies. It is a visual feast that tells a vast story embodied by loaded ideas. Such an act is not easy, being more effective than most at the execution. I appreciate Prometheus for the film that it is and more so for the ways it honors Alien and the best ideas of the series. Like the big ideas it slaps around, Prometheus is able to subjected to variable viewpoints and interpretations, making it a flawed, but beautiful addition to the sci-fi pantheon along with similar Lovecraftian classics.