by Alex Greenberger
It is best to see “Prometheus” with as little knowledge of the film’s plot as possible. In the interest of preserving some of the film’s surprises, this review includes no spoilers or details from the film’s plot.
At one point in “Prometheus,” David (“Alien’s” Ash before he was called Ash), played by Michael Fassbender, asks, “How far would you go for answers?” Well, I would pose the same question to you, because depending on your answer, “Prometheus” might not be the ideal “Alien” prequel you thought it was.
Very few films actually scare me, and “Alien” is one of them. In truth, it’s an extremely simple film—Ridley Scott’s 1979 blockbuster is really nothing more than a suspenseful man versus nature conflict—and for that reason,”Alien” is immensely creepy. Well, the same couldn’t quite be said of “Prometheus,” which comes off more as an intensified, duller, and dumber rendition of “Alien,” thanks to its need to cram as many solutions to “Alien’s” extraterrestrial mysteries as possible.
Those answers are generally not (for me, personally, although I believe that many viewers will enjoy “Prometheus’” multitude of reveals) necessary. “Alien’s” finest moments are the ones that hinge on not understanding—these being the Space Jockey, the xenomorph’s sudden appearance, the chestbuster, etc. “Prometheus” takes a far different approach in that seems to want to provide a reason for everything we see in “Alien,” though it is, as many prequels are in that respect, fairly disappointing.
And part of the reason for that is the film’s wooden writing, as sloppily presented by Damon Lindelof and John Spaihts. Lindelof previously worked on “Lost,” a show that was good at presenting questions—and failing to provide answers. “Prometheus” is guilty of the same charge. For every answer given, two more questions are raised. By the film’s ending, in which it seems as though all should have been revealed, or understood at the very least, Lindelof and Spaihts slap on some open-ended closure. Hello, “Prometheus 2!”
It would also seem that Lindelof and Spaihts got so caught up in (attempting) to leave no question unanswered that they completely forgot about the escalating suspense of “Alien.” From its very opening, “Prometheus” is one special effects shot after another. It is, I suppose, the best kind of blockbuster—one that has a pacifying effect, thanks to the scope of its brilliant, gorgeous special effects work, and one that is, despite a multitude of flaws, entertaining to some extent. You might say “Alien” had stunning special effects, too, and that is partially why it is great, but even that seems reductive. “Alien” builds suspense gradually, and it’s so subtle that, by the time the film really gets stressful and intense, it’s barely noticeable that Scott has been hyping up his audience the whole time.
“Prometheus” decides that it wants rampant intensity—that it wants more screams and bone crunching noises and shouts of “Get it off!” than quietude and slick camerawork for the benefit of tension. However, “Prometheus’” greatest problems result from the fact that its basic narrative is bound closer to that of the series’ opener than the facehugger was to Ash’s face in “Alien.”
But even despite Lindelof and Spaihts’ lackluster work, “Prometheus” is very much a Ridley Scott film. All of his signature trademarks are there—“Prometheus” retains Scott’s spectacular sense for epic scope, special effects, and atmospheric sound. Scott’s craft has not been this fine since “Blade Runner,” which is a feat, considering that film’s visual splendor. Even Scott’s use of 3D does no wrong by its viewer, for the 3D only makes “Prometheus’” Oscar-worthy special effects look even more realistic. The void left by the film’s slapdash writing is filled by Scott’s amazing sense for visual wonderment—it truly is like entering a new world.
But would you be willing to enter Scott’s fabulous galaxy just one more time? “Prometheus” ultimately suffers from its obsession with answers, because aside from Scott’s direction, great special effects, and two fascinating performances—one from Fassbender and another brief one from Charlize Theron—“Prometheus” is a mission that ultimately isn’t worth taking. And since David constantly speaks in recycled maxims, I feel it only appropriate to end this by doing the same–sometimes it is better not to know than to know. “Prometheus” couldn’t be a better case to prove my point.
Alex Greenberger is a staff writer. Email him at entertainment@nyunews.com.
