Where This Meets That
Prometheus is effectively a prequel to the Alien film franchise, though Ridley Scott demures on that claim.
It is a wild ride that dares to ask some big, age old questions, like “how did we get here?” and “why are we here?”
There are very strong suspense elements that the Alien films used so effectively (dark tunnels, alien pods, and parasitic implantations). Also reminiscent of those films is the strength of the female leads, played by Noomi Rapace and Charlize Theron. Rapace’s character, Dr. Shaw, in particular shows remarkable development in the strength she exhibits. When we first see her awaken from hybernation, she is violently ill and slow to regain her strength (versus Theron’s character, who immediately drops into doing push-ups). But by the end of the film, Shaw has done things we might not even expect from Sigourney Weaver’s “Ripley” character.
Unfortunately, these strong elements from Alien accompany some weaker ones, like the poor personnel chemistry and psychological make-up of the crew, and ultimately concede rule to action and – albeit astonishing – special effects in Prometheus.
When all is said and done, the film leaves more questions than it answers, and I’m not talking about deep, existential ones either. It could have benefited greatly from another critical read-through. For example, how did the two guys get lost in the corridors despite the thorough three-dimensional mapping available to the team?
Prometheus is an effective sci-fi thriller but falls short of its vast potential.
Prometheus score: 3 Falcone Rings