Well Put
“I disliked Prometheus intensely,” writes “Subashini” in a 6.23 post on the Blog of Disquiet. “I do think that having acrimonious feelings towards the film is the actual point — the film seems to be a stand-in for a certain segment of humanity and its imperialist, ruinous ambitions, though like most films coming out of Hollywood this seems to coexist with its appreciation of capital, technology, and involuntary/reproductive labour.
“That in itself doesn’t make it inherently unlikeable, not at all. But as Susan Sontag wrote in ‘The Imagination of Disaster,’ ‘Science fiction films invite a dispassionate, aesthetic view of destruction and violence — a technological view,” and perhaps it’s the nihilist technological determinism of Prometheus that is inherently unsettling. Perhaps it’s this utter lack of meaning in the movie that is its meaning, and consequently the source of my loathing. Maybe a part of me just wants machines and people to get along? I’m not sure.”
I know this for sure: I will never, ever watch this movie again. They can send me a free Bluray and I’ll give it to someone who might appreciate it.
As I wrote on 6.1.12: “Prometheus is impressively composed and colder than a witch’s boob in Siberia — a forbidding gray film about howling winds and chilly people. It’s visually striking, spiritually frigid, emotionally unengaging, at times intriguing but never fascinating. It’s technically impressive, of course — what else would you expect from an expensive Scott sci-fier? And the scary stuff takes hold in the final third. But it delivers an unsatisfying story that leaves you…uhm, cold.”
Also: “What kind of space-voyage movie has on-board officers walking around in flip-flops and sandals? All space travellers in all the space-travel movies going back to George Melies‘ A Trip to the Moon have worn boots or lace-ups or anti-gravitational grip shoes or whatever. Sandals! My heart sank when Michael Fassbender made his entrance with his milky Irish man-toes…don’t get me started.”
The most frustrating thing about Prometheus is that you can see the original concept (how the 1979 Alien mothership crashed) right there in the structure of the movie.
It probably wouldn’t have been very expensive to shoot two versions (one with the Lindelof creatures; another with the HG Giger monsters) for safety. Hell, didn’t they do that for Alien 3?
That’s not to say that the second cut would have been all that great, but at least it wouldn’t have been so full of shit.
The main problem with Prometheus was hiring a TV writer. It basically plays like a pilot episode (all set up and no pay off) and not a complete narrative movie.
And an incompetent TV writer at that. I’m still bewildered as to why Damon Lindelof was hired. You wait 30 years to return to sci-fi and instead of re-teaming with the writer of Blade Runner, Unforgiven and 12 Monkeys you decide to hire the writer of Lost and Cowboys and Aliens.
That’s a real headscratcher. At least Scott is working with David Peoples on his Blade Runner sequel. Lesson learned I guess.
I agree with everything Robert Ebert has written about this movie.
Can we put the lame geek fan boy complaints to bed? Jeez, people…
If you get a Bluray, can I call dibs? Prometheus is easily one of my favorite movies of the year.
If a movie is intense and as beautifully composed as “Prometheus” I can give it a pass for not having all (or too much?) of the connective tissue needed to make it some profound experience. It’s just such a joy to have a big budget movie with real stakes. I think that leaning on the “search for the answers to fundamental existential questions” trope works well enough to give “Prometheus” the meaning and context it needs to support the genre elements.
It’s sort of funny how “Tree of Life” gets the benefit of the doubt for similar vague allusions to creation and evolution, but people like Jeff are licking their chops to tear “Prometheus” apart for lacking meaning. Was anything in “Prometheus” more wishy-washy than Sean Penn stumbling around that door frame in the desert?
@Boulder
Exactly. Similar themes, but one film is placed on a pedestal while Prometheus is torn apart across the web.
The biggest problem with Prometheus is that it was never going to live up to the expectations of the Alien fanboys. Was it cold and unfeeling? Sure. Most sc-fi movies are, especially the vast majority of the Alien movies. Did it leave more questions than it answered? Yes. But let’s not pretend the film did not do an effective job of creeping its audience out, just as the vast majority of the at least the first two Alien movies did.
The problem with Prometheus is the problem that I think has affected a lot of screenwriting in recent years — a complete misunderstanding of the appropriate use of narrative ambiguity. Today, screenwriters seem to operate under the notion that leaving massive plot and character details unexplained is some sort of indicator of quality or sophistication.
There’s a time and a place for ambiguity. Yes, we were left wondering whether Deckard was a replicant (and that particular ambiguity served a thematic purpose) — but other than that, we knew what the hell was happening throughout that movie and why.
I’m getting so sick of movies like Prometheus (I’m blanking on other recent examples; though I know I’ve felt this way a lot in recent years) that operate under no obligation to keep the audience informed of vital character and plot details. And for those who say, “well why should everything need to be spelled out?” I say bullshit. There’s some minimum level of coherent storytelling that needs to be provided by a narrative film. I go to the movies to be told a story — and if I have to fill in major narrative blanks myself I may as well stay home, save myself the 13 bucks, and write myself my own friggin’ prequel to Alien.
Preach Boulder.
Part of the reason Prometheus is getting torn up across the web while Tree of Life didn’t is because people actually saw Prometheus.
That doesn’t prove it’s better or anything, or that Scott is better than Malick etc….but I’ve long felt that for all his genius Malick gets away with TONS of things that lesser filmmakers get slammed for.
People will pick apart George Lucas’ crappy Star Wars dialogue but there ain’t no one in Malick’s last couple of films that talks any more like real human being and his use of voice-over has been a crutch since Days of Heaven that tells you far more about the story scenes he deleted for the sake of art than the motivations of the characters.
That all may be neither here nor there but there’s a double standard at work when you’re comparing two beautiful-to-look-at, ambitious films about “our origins” and tearing apart one’s flaws while excusing the other’s because it’s allegedly the work of genius, sight unseen.
Who the fuck is Robert Ebert?
Roger’s distant cousin. He’s almost as big a film buff and movie expert as Roger.
Given Jeff’s love of Magic Mike, I suppose he would have appreciated Prometheus more if Fassbender strolled around the ship in a thong instead of sandals.
Sorry but I’ll take some wishy washy voiceover and elliptical editing from forever art house Malick – at least it feels singular and from the heart.
Scott’s movie is a sci-fi-horror-thriller that wanted to show off some class and big ideas given the director set the standard, but then, a hack was handling the writing duties and Tom Rothman was putting it out. Big, dumb, and loud was the only way to go.
God. Even comparing Tree of Life to Prometheus. People need to read more books.
Event Horizon vs. 2001 next, please.
No wait. Let’s compare Matilda to Fanny and Alexander.
Ridley Scott’s worst ever movie. Makes G.I. Jane look accomplished.
Small Soldiers to Saving Private Ryan. Wait, Rosenbaum already did that one.
Prometheus was a cool film, as much a companion piece to Blade Runner as to Alien, but the squares couldn’t dig it because they were too busy going over the surface details with rulers and measuring tape.
Worse than A GOOD YEAR, even? That’s a mighty tall order.
I haven’t seen it yet, but judging by all the fiery invective directed its way I’ll be delighted if PROMETHEUS doesn’t punch me in the balls, piss in my face and insult my mother. I’m expecting nothing less than an all-out affront to the Movie Godz.
Yeah it’s the squares poring over the surface details… there’s SO MUCH rich subtext in Prometheus. It’s just so full of subtext that it’s repeatedly spoken out loud by the characters.
Wester – the subtext isn’t spoken aloud by the characters – that’s why it’s subtext. Some of the movies thematic concerns are articulated directly, but others are far less explicit. For example, this live journal entry provided a good preliminary analysis of the movie’s themes and imagery:
http://cavalorn.livejournal.com/584135.html
Ah, yeah, I forgot to address the amount of mythic resonance.
Maybe the next time you make a film about a topic as lofty as humanity’s origins, and it’s end, maybe, I dunno, hire writers and directors who LIKE HUMANS?
That moron Lindelof establishes a universe where we’re the product of majestic, theoretically-peaceful beings from another world, ones who “seed” us into the fabric of Earth and allow us to heed their call. And then, predictably, he wants to blow it all up, killing every single person around, a clear message as to where Hollywood’s priorities arise- Death To Humanity, Long Live Serialized Storytelling.
You allow humans the otherworldly ability to communicate with these beings, but our representatives are the stupidest, vilest, most vain assholes on planet Earth. You don’t do this because you want to posit questions about our origins or our faiths. You do this because you’re an asshole, and you mistake everyone around you for being an asshole as well. Why begin to unravel the mysteries of existence, when you can put pen to paper and damn us for all eternity, because we as a species don’t deserve any better?
It’s absolutely nihilism, and it’s 100% toxic.
Eh, only Weyland and maybe Vickers weren’t well intentioned. (And the worst that could be said about Weyland was that he was selfish.)Shaw was anything but vain or mean. Part of the point is that naive notion our creators might be benevolent beings, especially towards us, just might not be true. Shaw’s disillusionment at the end is more anti-religion, than anti-human.
Shaw may not be mean or vain, but she is clearly a high functioning mentally challenged individual.
Gabe, your tirade is refreshing. People are cutting Prometheus waaaay too much slack.
A Good Year wa a harmless piece of fluff, no problems with the screenplay for that, for what it was.
For a science-fiction film from the director of Alien and Blade Runner however, the Prometheus screenplay was film-school level. Events are motivated in the plot because characters are idiots. They treat landing on an alien planet like a school trip. The plot mechanics are so obvious they are grinding in your face. “Oh but I can’t have children…” “Hey, we’ve just been in a huge alien chamber with a huge fuck-off head and lots of sinister canisters… let’s have sex! ” I still can’t believe it actually, if you had told me George P Cosmatos had made Prometheus i would have believed you, Prometheus is on about the same level as Leviathan, just with a budget about 10 times the size.
Bottom line: Damon Lindelof is an amateur.
Let’s get real here, we’re not talking “2001″, “SOLARIS”, “THE FOUNTAIN” or “SILENT RUNNING” level big ideas here. Prometheus is more like PLANET OF THE APES, ROLLERBALL, ANDROMEDA STRAIN etc, etc. IT IS NOT HARD TO UNDERSTAND.
The problem is the HUGE gaps in logic that you would expect to find in ARMAGEDDON (ARMAGEDDON is 20 times better though) or some Paul WS Anderson shitfest.
YOU CANNOT SCENES OF A BIOLOGIST WHO IS AFRAID OF HIS OWN SHADOW SUDDENLY TRY TO PET AN ALIEN SNAKE LIKE BEING! and expect to be taken seriously as a movie.
Would it have killed Lindelhof to have the film take place over the course of a few weeks so that Noomi Rapace’s character could recover a little from having her STOMACH STAPLED. Or how about this, it’s a FUCKING SCIFI movie, invent some kind of futuristic super fast laser stitching bullshit. But you can’t have Noomi Rapace leaping and bounding hours (minutes?) after having her stomach fucking stapled and expect to be taken seriously as a movie.
With each passing moment the movie got dumber and dumber so that by time Charlize Theron is smushed by the Alien ship it I was literally laughing my ass off.
It was pretty though.
Also as a Biology teacher, I was just bothered by the evolutionary implications. Did the Jockey’s seed the planet with a life form that would evolve into humans over millions of years? We have rock solid DNA evidence that establishes a nested heirarchy of living organisms. You can’t NOT explain that and be taken seriously as a movie.
I think what makes so many people so angry about Prometheus is that it’s an extremely well made film with an extremely stupid story. 2001 told largely the same tale 40+ years ago, and Prometheus doesn’t add anything to it. Then it tried to graft the Space Jockey scene onto it and the whole mess just fell apart.
Plus, let’s face it: prequels suck. They amount to huge Easter Egg hunts for the hardcore fans and show a distinct lack of imagination. And nine times out of ten, they tell a story that didn’t need to be told. Off the top of my head, Godfather II is the only prequel worth a damn, and they only used the flashbacks in that film to parallel Michael’s rise to power. Most of the rest are are on the level of Butch and Sundance: The Early Days (starring HE fave Tom Berenger).
“Maybe the next time you make a film about a topic as lofty as humanity’s origins, and it’s end, maybe, I dunno, hire writers and directors who LIKE HUMANS?”
“Why begin to unravel the mysteries of existence, when you can put pen to paper and damn us for all eternity, because we as a species don’t deserve any better?”
What, so one out a thousand Hollywood summer films comes out that doesn’t sing unambiguously from the hymn sheet of HUMANITY, FUCK YEAH! and that’s a bad thing? Why begin to unravel the mysteries of existence if you’re only prepared to continence answers that are flattering to humanity? Would you prefer if they had sent up Hawkins and Mandela, so that the Engineers could go “Wow, you guys are neat, really glad we made you!” There are two points worth noting here: first of all, there is nothing wrong with exploring bleak or pessimistic notions about human nature in movies and books; arguably, it is bolder to unsettle, rather than flatter, an audience’s sense of human nature and it’s significance in the wider cosmos.
Secondly, the film just isn’t as nihilistic as you imply. Shaw, the only human character who survives, is clearly distinguished from most of the rest of the crew, in so far as her reasons for seeking the Engineers are noble (intellectual curiosity, in contrast to Weyland’s greedy desire to live longer.) Most crucially, though, she is the only human that shows compassion towards David (humanity’s creation), hence suggesting that she is at least more deserving of a benevolent creator than the others. So in Shaw’s character, and in Idris Elba’s willingness to sacrifice his life for the greater good (contrasted again with Vickers), there are clearly positive human traits and values espoused over negative ones.
VicLaz2 – there’s a huge gap in the logic of somebody who would put a well-intentioned turkey like THE FOUNTAIN in the same company as 2001 and SOLARIS. The closing sequence is like an advertisement for a New Age energy drink:
http://www.youtube.com/watch?v=7ILNJY5r9Gk
Yes Good Article well written people should read more books bt the way
TRISTIN: I wasn’t commenting on quality (I hate both versions of SOLARIS), I was commenting on the ambition of the ideas. And, I think The Fountain is a solid B-plus movie.
A Good Year is a GREAT film. Laugh all you want but i so much wanted to be Russell Crowe’s character at the end of that movie. Living in a sun dappled French country wine estate. having fresh baked croissents served up daily by a benevolant housekeeper, Drinking unlimeted amounts of incredible wine, hanging around at outside cafes and flirting with a hitherto unknown fresh faced Marion Cotillard., Having a hot California Girl cousin walking around all nakedwhile jiggling to that Edmundo Ros music. Damn. and having enough dough to do this for ever. What a great fairytale? I re watch this film over and over like Howard hughes watching Ice Station Zebra and think If only. Fuck Malik and Human Origins and Prometheus and fanboys and replicants and Fassbender’s milky white toes. I want to live in this Movie like The Purple Rose of Cairo in reverse. or Plesentville. Sir Ridley Love Ya
Then it tried to graft the Space Jockey scene onto it and the whole mess just fell apart.
It’s not the same planet as Alien, and that’s not the same ship. There’s nothing connecting it to the first film.
Rashad, nothing connected except the ship ended up crash landing in the EXACT. SAME. POSITION. as the space jockey ship in OG Alien. That is a very confusing and dumb coincidence.
My wife had never seen an Alien movie until two days before Prometheus (we watched 1 and 2) and at the end of Prometheus she says ” oh, that’s how the ship crashes in the first one”… I had to tell her it was just a coincidence…
Rashad, I’ve heard you beat that drum on other threads. So, if I pulled the “helmet” off the Space Jockey in Alien, there wouldn’t be an Engineer inside? And the Aliens Ripley fought had nothing to do with the black oil, even though in Prometheus it created a giant face hugger, a chest-bursting eyeless creature with a long narrow head and extended jaws, and wormlike creatures with acid blood? May not be the same planet, but if they didn’t intend there to be a connection, that’s a hell of a lot of coincidences.
Of course it’s an Engineer, but it’s the in the first one. That’s the point. It’s not a Star Wars Episode 3 type of thing.
As for the ship, it’s a horseshoe. Landing on its side is a given.
Tristan: Shaw, the only human character who survives, is clearly distinguished from most of the rest of the crew, in so far as her reasons for seeking the Engineers are STUPID, selfish, and arrogant. She wants to find them to answer her own dumdum questions. Her only reason for going is her strong belief that they are talking to her and can provide meaning to her existence (to be fair, she’s not as bad about this as her dumdum boyfriend, but they’re both like Christian Youth Camp leaders walking around with this stupid arrogance that made me hope they died, and violently.)
Anyone who is bothered or unsettled by Prometheus because of its so-called “dark” views of humanity is just as dumdum as the characters in it.
*I meant it’s not the Engineer.
Wester – “Anyone who is bothered or unsettled by Prometheus because of its so-called “dark” views of humanity is just as dumdum as the characters in it.”
Aren’t you the guy who just called Gabe’s post complaining about it’s “nihilism” “refreshing”? If someone criticizes something for being nihilistic, that generally means they find its vision of human beings or the world to be unsettlingly dark or pessimistic. So is it “refreshing” or “dumdum” to complain about Prometheus’ nihilism? Make up your mind.
“Her only reason for going is her strong belief that they are talking to her and can provide meaning to her existence”
i don’t recall any suggestion that she thought the aliens were speaking specifically to her. I don’t think anybody in the world would agree with you that the question of how, why, and to what purpose if any, intelligent life emerged on planet earth are “dumdum” questions. Maybe dumdums themselves.
Eh, you make good points about my idiocy and inconsistency a couple of times. I’m still smarter and more consistant than any of the moron characters in Prometheus.
“I don’t think anybody in the world would agree with you that the question of how, why, and to what purpose if any, intelligent life emerged on planet earth are “dumdum” ”
This is correct. I misplaced my dumdum.
nice job!
cool poer!
cool pro!
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