Genre: Sci-Fi, Action, Horror
Director: Ridley Scott
As one of two most anticipated summer blockbusters of 2012 by most fervent cinema-goers, me included (the other is THE DARK KNIGHT RISE, doubtlessly), I watched it in the cinema, a plain 2D version, but in a nutshell, it is not satisfactory at all.
The film has wrought some doze-prompted moments, there are just too many routine procedures have to be dealt with (tediously) to tell a tale (with cliche-ridden dialogues and stereotyped roles) before any flare or more precisely, casualty to take action. Then quite ironically, the ill-fated first casualties are the geographer and the biologist (no career-based prejudice, I may watch too much of THE BIG BANG THEORY), whose raisons d’être are never being expounded on, just like most of the remaining crew.
What I could not expected is the mono-designed location, because one might take it for granted that with such a budget, at least, the crew of Prometheus could bring its audience to experience more polychromatic locales, but no (anyway, I cannot be too picky as the original ALIEN 1979 is also largely constricted), which cause some aesthetic fatigue since the same palette has occupying the screen for almost 120 minutes.
The meat-and-potatoes virtue of the film nevertheless lies in its astronomically staggering SFXs, though trapped in a pretty dark hue background, the outer spaceship’s emergence and the laconic crash has its magic spell to conquer any Sci-Fi fanboys’ cravings.
(Tiny spoilers below)
The suicide attack is too reckless to feel cogent under its life-and-death circumstances and Ridley Scott has no intention to exude any mercy towards the cast, leaving no side branches makes the film desperately yearn for a new page and commence another chapter.
The cast, the never-do-wrong Fassbender captures the spotlight again in his unexpected role (I will not spill the beans here) and a Ridley-remolded heroine Noomi Rapace picks up her gauntlet to emulate Sigourney Weaver’s idolized torch-blazer, which comes out to be a shade pessimistic, but the surrealistic and unsettling self-operated caesarean section is plain too shocking to believe one’s own eyes, let alone the consequent recovery, this gal is not a woman, even not a human!
Has another leading-lady-goes-supporting role in a mainstream summer production, Charlize Theron’s faculty has not been fully dug (she could create and pull off more strain and mayhem if had given her role a bit more dimension, damn you screenwriters!), and so is Guy Pearce, whose presence is so unnecessary, if not just to pay extra stipends to the make-up team.
Ostensibly to seek for human race’s genesis, the film eventually left too many unexplained questions for it’s supposed sequel (the box office is slightly under-performed so far), so if there will be one, Mr. Ridley please assures that it is the script which should be the paramount task to labor over!