Prometheus is Ridley Scott’s much-ballyhooed prequel to seminal sci-fi film/franchise Alien. Does Prometheus bring the hot fire or sling reheated mush? Don’t worry – Major Spoilers is here to give it to you straight.

Directed by: Ridley Scott
Written by: Jon Spaihts, Damon Lindelof
Starring: Noomi Rapace, Michael Fassbender, Guy Pearce, Idris Elba, Logan Marshall-Green, Charlize Theron, Rafe Spall, Sean Harris, Kate Dickie
Edited by: Pietro Scalia
Distributed by: 20th Century Fox
Produced by: Ridley Scott, David Giler, Walter Hill
Rated R

Previously, in the Life of Ridley Scott: It would be hard (and ultimately inappropriate) to discuss Prometheus without discussing Ridley Scott’s earlier works. In Blade Runner and Alien, Scott directed two of the most influential films in modern science fiction. The former is rightfully in the running for greatest film ever made, and the latter (along with Star Wars) helped usher in an era of lived-in, realistic futurism on film. Since then, Scott has made a career out of sweeping ambitious works that marry epic scope to gritty realism; this includes films like Gladiator, Black Hawk Down, and, um, Thelma & Louise. Many of his films are critical and/or commercial successes, but these stand alongside recent misfires like Kingdom of Heaven and Robin Hood. Prometheus problematically stands somewhere between two poles. It is neither a classic for the ages nor is it an easily dismissed also-ran.


For those who have seen Blade Runner (and if you haven’t, go out and do it now), you might recall the pivotal moment in the film where android/replicant Roy Batty meets his literal maker Dr. Eldon Tyrell, saying “I want more life, father.” Prometheus is basically an extended riff on this idea injected into the Alien universe, with a dash of Chariot of the Gods pseudo-archaeology for good measure. The film addresses a heady mix of metaphysics, asking questions like: what does it meant to be human, where do we come from, is there a god, how do science and faith mix? It does so with a decent amount of ambiguity, but an unfortunate heavy-handedness that drags the whole production down as a result.

The basic set-up for Prometheus is this: 75 years or so from now, two archaeologists (Rapace and Marshall-Green) discover a constellation that appears in the art of numerous ancient civilizations across Earth. Believing that it is an invitation from humanity’s creators, they somehow wrangle a spaceship to go investigate a planet that may hold the key to explaining human existence. With the requisite blue-collar ship’s captain (Elba), icy corporate stooge (Theron), creepy artificial person (Fassbender) and odd-ball crew, the scientific mission makes landfall and predictably find mysteries both awe-inspiring and horrifying. Regardless of whatever the pre-release press said, this is a straight-up Alien prequel, with familiar elements such as an android, cryo-sleep, Space Jockeys and the full force of the Weyland Corporation (guess the merger with Yutani comes later).

A lot of action happens that I dare not spoil, but suffice to say, the early mood of wide-eyed scientific exploration gives way to a horror/action mode of contrivance that relies too heavily on pat, overdone tropes (somewhat resembling the jarring shift in Danny Boyle’s Sunshine). There are too many moments to list where the action is moved forward by protagonists doing something stupid for the plot’s sake, or someone makes a weirdly specific leap of logic without any evidence, which then happens to be right. The scientists don’t act like scientists. Professionals act unprofessionally (leaving their post watching stranded crewmembers in order to get a quickie, for example). People spend time discussing metaphysics and the existence of God rather than talking about the extremely horrifying thing that happened five minutes previous in just the other room. I might be willing to suspend disbelief in these things in a film with lesser ambitions like, say, Transformers. But in a film that wants to be so much more, it is frustrating to see such an overreliance on stupidity in a film that is not trying to be cynical about the nature of people.

There are other problems too, such as unconvincing old people make-up and CGI monsters that still cannot convincingly replicate the tangibility of wires and puppetry. Also, the film has a tendency to paint its characters with a broad brush – few felt real or relatable, and some didn’t even seem to be named. And if I may speak self-indulgently as a trained archaeologist, no archaeologist would ever dejectedly mumble “Just another tomb” and then complain that a dead civilization had nothing to teach us. That’s… pretty much what archaeology actually does, in a nutshell; look for tombs and learn from dead folks.


But all is not lost; for me, Prometheus succeeded in spite of these very real problems. The film has real soul, stemming somewhat from its overreaching ambition and realized in no small part due to expert direction, acting and set design. The film looks fantastic, with gorgeous-looking sets and an imaginatively constructed alien world. When Prometheus dives into its horror-movie elements, the results are just as affectingly disturbing as anything else in the Alien franchise; make no mistake, the franchise’s signature Freudian, Giger-designed body horror is in full force here, while sparingly and effectively utilized.

The cast is a murderer’s row of great actors who do a great job, with a few stellar stand-outs. Michael Fassbender (X-Men: First Class, Shame) is amazingly creepy as the android David, who has an awesomely weird fascination with Peter O’Toole’s portrayal of T.E. Lawrence. The true lead is Noomi Rapace (the original titular Girl With A Dragon Tattoo), playing a conflicted, spiritually complex archaeologist, and she makes the most out of some very difficult scenes. Idris Elba (Luther, The Wire) has a rural American accent that fades in and out, but his jocular performance grounds the film with rare humor and real humanity. And props to Sean Harris’s (24 Hour Party People) memorable portrayal of a Hudson-esque geologist; geologists are that weird in real life, people. The script does not give a lot of time over to its characters, which would have been a damning problem in the hands of lesser talents.

Ridley Scott has never shied away from complex issues, but the script would have benefitted from a subtler hand in how it addressed its metaphysical goals. One character muses about how perhaps God isn’t all that great, when anyone with “half a brain and a chunk of DNA” can create life, prompting another to essentially blurt out “But I’m INFERTILE.” It is a more than a little clumsy. But there are a few moments of real beauty where Prometheus’s reach actually meets its grasp, such as when David muses over the disappointment of a creator who creates for mere creation’s sake. The willingness of Prometheus to even broach these subjects in a big Hollywood budget film is welcome, even if the results are not entirely satisfying.


Prometheus as a film is ambitious, flawed, but ultimately entertaining. The seams in the script definitely show, but I left feeling like I had gotten my money’s worth. I saw the film in IMAX 3-D. I am ambivalent about the new wave of 3-D gimmickry, but if that’s your thing, Prometheus is worth seeing in that format, with a few dizzyingly cool setpieces that fully use the technology. If the upgrade is too headache-inducing or expensive for your personal tastes though, don’t bother.

In full realization that this movie was hard for me to grade, Prometheus earns a three-and-a-half out of five stars. The rating could shift up or down by a full star, depending on how willing or unwilling you are to swallow the plot problems, or how put off you are by gory, violent body horror. If you have any interest, I recommend seeing it on the big screen – just do not expect a film that equals Blade Runner or Alien.

Rating: ★★★½☆


About Author

George Chimples comes from the far future, where comics are outlawed and only outlaws read comics. In an effort to prevent that horrible dystopia from ever coming into being, he has bravely traveled to the past in an attempt to change the future by ensuring that comics are good. Please do not talk to him about grandfather paradoxes. He likes his comics to be witty, trashy fun with slightly less pulp than a freshly squeezed glass of OJ. George’s favorite comic writers are Warren Ellis and Grant Morrison, while his preferred artists are Guy Davis and Chris Bachalo, He loves superheroes, but also enjoys horror, science fiction, and war comics. You can follow him @TheChimples on Twitter for his ramblings regarding comics, Cleveland sports, and nonsense.


  1. Jason De Luna on

    Im so glad some one else agrees with me about the flaws in this movie. I felt charlize theron was wasted along with guy pearce. I disliked the lack of consistency with the aliens forms/shapes and the other alien’s lack of tools, considering they were a bio-engineering space faring race. Added to a few clichés too many left me with an average film with a lot of tiny irritations I couldn’t over look. I would have given fewer stars, but as rotten tomatoes has shown me, almost everyone else’s mileage may vary.

  2. Doug Bradbury on

    I thought the film was reasonably enjoyable as a whole and is probably best viewed as its own distinct entity with some alien vibes in it rather than a full blown alien prequel. Although as stated in the review some of the plot wholes were pretty glaring and in some cases “wait what just happened their” kind of thing.

    On another note i loved all the visuals the ship looked great the 50/60’s style bubble helmets were actually really cool and there were some ewww moments in the film as well as i suppose any alien film should have (@Mightykingcobra you might want to give this one a miss body horror ahoy!)

    Overall good review ! seems fair and well balanced a lot of dedicated critics I have seen are slating it mainly due to the aforementioned plot holes.

    Also i’m studying geology…………

  3. I believe it wasn’t really a prequel at all. It was engineered to be close enough for people to make that leap but there are so many discrepencies that I have to wonder if perhaps there was some copyright of the old franchise that Ridley Scott couldn’t touch. And frankly I rather this be a different story altogether. It makes for a slightly better movie.

    I too believe that the characters were not professional at all. These were not best of their class scientists. These seemed to be the kind that got their degrees in the mail. And the only reason why they were there was because it was a privately funded project and Weyland couldn’t get anyone worth a drek.

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