Despite
Its Flaws, Prometheus is Entertaining
By
Kristin Battestella
“I
feel like there’s a chest burster inside me.”
That’s
what I said in the ER this past July when they asked me to answer their polite
1 to 10 point-at-the-smiley-frown pain scale. I didn’t know what was causing the
increasingly horrible and unbearable pain beneath my right ribs. I could barely
move, breath, or speak. I flailed my arms in pain and accidentally hit the
nurse when she tried inserting my IV. Of course, this reminded me of one early
hospital scene in Aliens, and later,
after I clawed my husband’s hand and drew his
blood, I said, “I guess this is what I get for going to see Prometheus!”
Doctors
Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall Greene)
petition the Weyland Company to support their archaeological discovery: ancient
civilizations each repeated the same astronomical pictograph and alien “Engineers.”
Shaw sees the pattern as an invitation
to the stars and the origins of humanity, and the state of the art Prometheus
disembarks to the distant LV-223. Only the android David (Michael Fassbender) is
awake for the journey while the rest of the crew- including the doctors,
Captain Janek (Idris Elba), and Company representative Meredith Vickers
(Charlize Theron) remain in hyper sleep. Once they reach the moon, the human
crew rises to search an ancient monument full of dead Engineer bodies,
mysterious urns, and surprising familiar iconography. As storms fronts approach on the surface and
the crew separates, one by one their fates and faiths are tested, for these Engineers
and their perilous DNA projects aren’t as dormant as they seem….
Plotting A Prequel Conundrum
Whew!
It turns out it was just my gall bladder going, but director Ridley Scott’s
return to science fiction with this pseudo Alien
prequel was certainly on my mind most of the summer. I’d been waiting over
a year for the release – even remaining spoiler free into its approach – and
obviously, it’s still on my mind now thru our annual Fasstivus viewings and
Vassbender Valentines. The possibility of Alien’s back-story feels like its been in my
subconscious for decades. I used to drive my father batty with speculation
about how the crash on LV-426 happened, to where – or whom – that homing beacon
was transmitting, and how the evil android Ash and the then unnamed but
obviously money loving and corrupt Company were involved. Yes, most of these
questions from Alien are not answered
in Prometheus and that is this film’s
blessing and curse. Some may rightfully dismiss Prometheus simply because it answers nothing beyond itself. After
all, what’s the point if technically nothing gets us any closer to Alien’s mysteries? The connections and
feelings are there, but it seems like Prometheus’
key elements are being spread out for its inevitable sequel or a completely
new trilogy. It becomes both rushed in its foreboding yet too disjointed as the
plots diverge and reveal. This almost feels like Alien 3, strangely, where one film had to suffice both its brooding
horror and action SF predecessors. The internal pace is fine to start, with
good cringe inducing moments and a horror styled pattern of storms and
entrapped personnel. Though the deleted scenes were apparently cut for length
and action pace, it feels as if Prometheus
should have continued in this speculative science fiction or horror vein,
with complete character intelligence and a scary food for thought.
There
is room to speculate on the alien dangers and high concept religion and faith
debates. However, writer Damon Lindelof (Lost)
also left serious plot holes, unexplained developments, and changed script
scenarios in rewriting newcomer John Spaihts’ original treatment. Nothing short
of having all the action taking place on LV-426 as originally envisioned would
have appeased die-hard fans. Whether Prometheus
was going to be a direct sequel or not, whatever storyline you finally
intended to go with – all those decisions should have been settled upon rather
than be left hanging in the film. Frankly, nothing – no creature connections,
planetary aspirations, or character motivations – should have been held back in
the hopes for a sequel. In the theater, I was screaming to myself that this
film better dang be successful enough to earn a sequel, otherwise, this will
really not just disappoint, but anger the audience. If you open Pandora’s Box,
do so all the way. Innumerable plot holes
and character head scratchers and inconsistencies linger in Prometheus. Some of that is answered in
the viral and behind the scenes material, but you can’t hinge the full vision
of your film on the extras or sequels. Not only are the big spiritual topics
not as deep as could be, but the intentional ambiguity is far too on the nose. I
thought I was alone in wishing for more from Lindelof’s weak touch, but Prometheus takes the easy way out by
dropping its high concepts for a typical big action ending. The first half of
the film is brimming with foreboding and body horrors just like Alien, but unexplained secrets become
plot contrivances and what should be hidden personal or family connections are
too obvious. Perhaps a truly sophisticated slow science fiction morality tale
can’t achieve success today, but it feels like Lindelof didn’t even give Prometheus a chance to try. In the behind the scenes materials, he admits
he found Alien boring, and no studio
today will accept boring! If one can let go of Alien and accept that Prometheus
is not a direct prequel and will not answer your long held questions, then
it can be enjoyed thanks to great sets, thoughts, and performances. Can a hardcore SF viewer accept the plot
holes and screenplay mistakes? We don’t really have much of a choice until the
supposedly in the works follow up is on the big screen.
Powerful Performances
Well,
well, Michael Fassbender does it again! Perhaps his ambiguous android David wasn’t
meant to steal the show, but his artificial intrigue and robot speculations are
the best part of Prometheus. Though
his questionable actions initially support the faith versus science explorations
and romance between Shaw and Holloway, David’s seamless orchestration of the
crew and events around him subtly exceeds his programming. Fassbender’s (X-Men: First Class, Shame) uniquely
devoid wizard behind the curtain pushes and pulls in
true Vader fashion, and this malevolent Data is almost like a synthetic child
on the verge of sociopathy. David is hyperactive, told not to go somewhere or
touch anything, but he continually disobeys any instruction – maybe it’s for
his own purpose, maybe not. He’s androgynous and prepubescent, almost not
physically developed or impotent and thus uses his superior intellect and the
low opinions of others to gain control. Despite his not having emotions, Shaw becomes
the twisted object of David’s affection, and he scientifically violates her in
a slick and premeditated plot. It’s not desire as we would think, but rather
experimental curiosity. It’s third party rape because he can, and thus in
David’s mind, he should. Thanks to Fassbender’s well-played deceptions
here and in Prometheus’ viral
campaign, there are times where the viewer might swear David damn well does
have emotions, and this Pandora of possibilities is a tad frightening. An android who wants to be like Lawrence of
Arabia? There are no Laws of Robotics here, and it’s creepy to see David’s
graduation from playing with alien bugs to using human fodder go unchecked –
particularly when it is such a cold and logical step to him. Without internal censors to curb David’s
motivations and ambitions, his last shall be first realization that people are
inferior is allowed to run amok and create Prometheus’
finest moments.
Naturally
then, when Holloway belittles David, it is not only his own undoing, but it
sets all of Prometheus’ events in
motion. Rather than being the hero, Logan Marshall Green’s (Dark Blue) scientist comes off as big
jerk thanks to script and character issues. He drinks because he is unhappy
that he has discovered the existence of human progenitors on another planet.
Huh? This writing faux pas ironically works in Fassbender’s favor. One might actually
be sympathetic to David instead thanks to the way he is insulted or dismissed.
The android is kind to Shaw, but her trust is betrayed and it makes for some
fine work by Rapace. Noomi (The Girl with
the Dragon Tattoo) is up to snuff as our Ripley successor, oh yes. Though younger than her co-stars, she may
seem a bit too mature against Logan Marshall Green or too upscale European for
American audiences. However, this edge is perfect for the deep, heavy, and
spiritual Shaw. These beliefs drive her pursuit of science, but they should
conflict – and her newfound alien discoveries spearhead Shaw’s reexamination of
herself. It all seems kind of lofty or too high brow, but Rapace keeps Shaw
likeable and believably kick ass. Yes, there are convoluted script moments and
unrealistic post-injury scenes that do take the audience away from the
character. She can run around alien planets and climb all over the place after that?! The lack of believability in the
plot also takes a bit away from the awesomeness of her alien encounter, but no
faults come from Rapace, and I look forward to more of her.
I do,
however, wish more religious connections were made out right between this trio.
After all, we have a worshiped alien being birthed by a woman named Elizabeth after an
impregnation orchestrated by a surrogate father. In keeping with the ABC
android names of the previous films in the franchise, we have a D for David.
But why the name David instead of any other D name? Was there meant to be some
sort of Root of Jesse lineage and messianic message? It is Christmas aboard the
ship after all, and the Shaw praying scene in the trailer was cut from the
final film. One of the new creatures in Prometheus
is also called a “deacon.” What exactly is all this religious iconography
supposed to mean? Humanity is seeking out their alien creators and thus
outgrowing their divine masters, and in some ways, David is doing the same
thing to his human inventors. This ideological succession, oedipal shadings,
and patricide hopes are touched upon in the script and chewed on nicely by the
players when its given to them. The triumvirate keeps the entertainment and
intelligence afloat for the audience, but unfortunately, the shaky foundations
in the writing don’t answer these lofty questions. Had the cast been given
complete character motivations and plot aspirations, nothing could have stopped
Prometheus.
Poorly Handled Ensemble
Oscar
winner Charlize Theron (Monster) is
ice queen good fun as Prometheus’ resident
secret wielding company representative, but there could have been a lot more to
her character than what we receive. If
you think about Vickers’ background and motivation too much, too many
nonsensical red herrings emerge. Her big secret is quite obvious, but whether
she is a human or robot isn’t hardly addressed, nor is her alternating bitchy, sympathy,
intelligence and stupidity. As with David, serious Scott fans could have had
their hearts set a flutter by Vickers and possible Blade Runner connections. Unfortunately, as is, the character ends
up meh despite Theron’s best attempts to counter the iffy scripting. Likewise,
it is always a delight to see Guy Pearce (L.A.
Confidential) and that therein is another big hole in what could have been Prometheus glory. I’m going to be nice
and say the aging make up isn’t that bad
– we just know it is Guy Pearce and would rather see him be the power hungry
and creator- complexed young Weyland as seen in the Ted Talks viral video. Why
couldn’t he have a pre-mission briefing instead of that weird hologram
recording? That right there would have gone a long way in explaining all the
characters and their reasons for signing on to such a space flight! The waste
of creative character developments and potential is actually almost as in your
face as Weyland’s actual not so surprise twist!
Although
the supporting cast is most definitely talented enough, they aren’t given much
to do beyond making mistakes or being barely there. Idris Elba (Luther) certainly has the presence to be
the rogue captain of this wonderful ensemble, but his heroics and humor are so
broadly written all over the board in crayon that we can’t fully care about Janek
despite Elba’s charisma. He’s devil may
care but spiritually sensitive and cares about his crew and ultimately,
humanity. However, Janek doesn’t give two shits about crewmen in jeopardy and
doesn’t bother to ask what the mission entails. This isn’t multi-dimensional
character development; it’s more like the captain is just a script placeholder
to use whenever something is needed. It’s a sacrilegious waste of Elba, and
Rafe Spall (Anonymous), Sean Harris (Outlaw), and Kate Dickie (Game of Thrones, Red Road – Did no one
in this production see Red Road?!)
become plot points for alien high jinks instead of being truly developed characters.
Similarly,
we never really get to meet the potentially charming Emun Elliott (Black Death) and Benedict Wong (Dirty Pretty Things), and there are even
more unnamed disappearing and
reappearing soldiers aboard the titular vessel. If we’re not going to spend some
time with these crewmembers in order to know their fears or faults intimately
in a slow build of apprehension and peril, how can the viewer appreciate them?
Deleted scenes and alternate takes improve the troop slightly, but the audience
never gets the feeling this crew is in it together, as in Alien or Aliens. Sure, we
need a conspirator or two, but these folks are so divided, it seems like they
each had different versions of the script from which to work. If you’re not
fans of the players, it is tempting to fast forward thru their stupidity and
squandered opportunities. As Prometheus is,
this talent becomes padding for the body count in the final act.
Positive Bells and Whistles
Fortunately,
whatever you may think of Prometheus, it
looks damn great, simply smashing. Instead of a dark
and congested submarine – perhaps expected by our recent trends toward
brooding, bleak, apocalyptic futures – the palette here is bright SF, with sweet
looking, large-scale special effects and an imaginative ship design. It all looks
sweeping, epic, and state of the art but somehow still natural and practical –
a realistic progression and scientific advancement on our current technologies.
There are some Alien allusions in the
designs as well, and Prometheus does
meld soundly as the mechanical precursor but 21st century offshoot
to the franchise. Fortunately, the action scenes aren’t brimmed with
unnecessary cool gadgetry for the sake of instant technological flash. The
detailed and well-thought production here will outlast the in the moment
product placements so often found in today’s films – remember all that MSN crap
in The Island? Prometheus is not ‘sponsored by Sony’ in your face, and unlike the
eighties 3D hurrah, there are no ridiculous foreground objects and actions thrusting
at the screen desperation. I dislike 3D
and chose not to see Prometheus as
such, however, you can still tell which swooping CGI effects shots are meant to
be in the multidimensional glory. Thankfully, the exceptional Icelandic waterfalls
and galactic scenery aren’t overruled or at worst ruined by the 3D as so many
films are.
Ironically,
while writing this review, I received the Prometheus
4 Disc Collector’s Edition as a gift from my husband. Of course, I’m not as
interested in the 3D blu-ray disc as I am all the other critical bells,
whistles, and special features. I
haven’t even gotten thru all the exhaustive behind the scenes interviews,
production galleries, screen tests, commentaries, and more. Like the immensely
detailed Prometheus: The Art of the Film companion
book, alternate concepts, deleted scenes, storyboard ideas that didn’t make it
into the film, and even those screen tests and viral videos all help to piece
together a lot of the head scratching and character flaws in Prometheus. The aforementioned video and several other
blu ray and DVD editions are now available of course, each with varying degrees
of special features. However, I thought it might still be amusing to share some
of the quick notes from my original Prometheus
Monday afternoon summer theater experience, for these trailer observations
seem particularly prophetic now: “Frankenweenie
looks dumb. Savages is too Oliver
Stone generic, The Watch the usual
comedy. Abraham Lincoln: Vampire Hunter
looks too action badass can’t see the forest for the CGI, and Rock of Ages has great music but what a crappy
ass cast! I would see none in the theater and would not be surprised if some or
all do poorly.” Hehe.
There
is most certainly an audience for Prometheus,
and viewers should see it at least twice for complete entertainment value –
even more for finite assessment. Love
it or hate it, general science fiction fans looking for a return to mature,
sophisticated tales can find something here, and Alien fans tired of the Predator
crossovers should definitely have a look. Granted, the separation from
total Alien connections and the “is
it or isn’t it” on the nose marketing approach was a deception to audiences
expecting complete franchise resolutions. That audience burn alone is enough to
not see Prometheus. Again, those
expectations both helped put people in the seats to pad Prometheus’ box office and hurt its reputation by disappointing
longtime fans. Because of these botched Alien connections and the fly by night scripting,
a necessary sequel is indeed forthcoming, although I wish the powers that be
hadn’t mashed up Prometheus in
anticipation of a follow up film or two and box office splendor. Behind the
scenes flaws and Alien relations
aside, Prometheus is nonetheless
entertaining for fans of the cast and science fiction lovers.
The Special Edition DVD of Aliens-available individually or in The Alien Legacy Set-includes 17 minutes of restored footage. These additional moments refine the movie and cap off a film that was already one of the best science fiction flicks since Star Wars. The restored footage highlights Ripley's trouble with the Corporation and showcases her lost daughter. Ripley left for space when she was 11, and now Ripley learns her daughter has grown up, married, and died. Instead of destroying Ripley, this extra storyline strengthens and solidifies Ripley's later attachment to little alien survivor Newt (Carrie Henn). 
