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|Noomi Rapace||, Elizabeth Shaw|
|Michael Fassbender||, David|
|Guy Pearce||, Peter Weyland|
|Charlize Theron||Meredith Vickers,|
|Idris Elba||, Janek|
|Logan Marshall-Green||, Charlie Holloway|
|Rafe Spall||Milburn, Millburn,|
|Kate Dickie||, Ford|
|Patrick Wilson||, Shaw's Father|
|Branwell Donaghey||Mercenary 1|
|Vladimir Furdik||Mercenary 2|
|C.C. Smiff||Mercenary 3|
|Shane Steyn||Mercenary 4|
|Ian Whyte||Last Engineer|
|John LeBar||Ghost Engineer|
|Daniel James||Sacrifice Engineer|
|Lucy Hutchinson||Young Shaw|
|Dr. Anil Biltoo||Linguist Teacher|
|Louisa Staples||Greeting Message Violinist|
|James Embree||Mechanic 1|
|Florian Robin||Mechanic 2|
|Matthew Burgess||Mechanic 3|
|Eugene O'Hare||Mechanic 4|
|Giannina Facio||Shaw's Mother|
|Richard Thomson||Archaeological Assistant|
|Jenny Rainsford||Archaeological Assistant|
|Philip McGinley||Archaeological Assistant|
|Rhona Croker||Archaeological Assistant|
|Wambui Wa Ngatho||Voice Only|
|Wannaporn (Kay) Rienjang||Voice Only|
|Zed Sevcikova||Voice Only|
|Sonam Dugdak||Voice Only|
|Reynir Thor Eggertsson||Voice Only|
|Shin-Ichiro Okajima||Voice Only|
|Charalambos Dendrinos||Voice Only|
|Berhane Woldegabriel||Automated Voice (Amharic)|
|Annie Penn||Voice Only|
|Robin Atkin Downes||Voice Only|
|Ridley Scott||Director, Producer|
|Alex Cameron||Art Director|
|Charlie Campagna||Sound Editor|
|Anthony Caron-Delion||Art Director|
|Harry Cohen||Sound Editor|
|Michael Costigan||Executive Producer|
|Peter Dorme||Art Director|
|Michael Ellenberg||Executive Producer|
|Graham Hall||Camera Operator|
|Marc Homes||Art Director|
|Mark Huffam||Executive Producer|
|Paul Inglis||Art Director|
|Max Keene||Asst. Director|
|Teresa Kelly||Associate Producer|
|Eddi Ketils||Special Effects Supervisor|
|Damon Lindelof||Executive Producer, Screenwriter|
|Daniele Massaccesi||Camera Operator|
|Arthur Max||Production Designer|
|David Morgan||Camera Operator|
|Alan Rankin||Sound/Sound Designer|
|Neal Scanlan||Makeup Special Effects|
|Ann Scibelli||Sound/Sound Designer|
|Gary Spratling||Camera Operator|
|Marc Streitenfeld||Score Composer|
|Karen Vassar||Sound Editor|
|Karen Wakefield||Art Director|
|Tim Walston||Sound Editor|
|Trevor Wood||Special Effects Supervisor|
|Janty Yates||Costumes/Costume Designer|
Posted October 10, 2012
As a lifelong fan of the first two Alien films, I went to see Prometheus with tremendous enthusiasm. This is a fairly complicated film and despite the trailer statement that "Questions will be answered," I left asking many more. So without further delay, here's my take on things. As far as the Greek mythology is concerned, for those who don't know, the Titan Prometheus stole fire from the gods and gave it to mankind so the human race could develop. So here the ship that takes a crew of 17 people to a Moon, LV-223 (whereas the location of the original two movies was LV-426) is named Prometheus. They think a number of "star charts," all identical despite being drawn by widely separated ancient human civilizations, invite us to learn about our origins. Breathtaking cinematography (are those landscapes real?) opens the film with equally beautiful music, then we see a lone "Engineer" standing next to a colossal waterfall. A physically perfect specimen, maybe 10 feet tall, the Engineer drinks from a cup as his fellow aliens pilot a ship into the clouds. Like the Greek character, his sacrifice is presumably forced: the liquid from the cup rots his body in seconds; it's so destructive that it destroys his DNA fibers and breaks bones. His decaying body spurts a black mist and then drops into the water, where the camera engages in a close-up of one DNA strand that isn't entirely ruined. Here the word evolution comes to mind: life started in the waters, and although I don't think the planet the Engineer is on is Earth, we don't know that for certain. No other living creatures are shown, so it might be the Earth, uninhabited eons ago. To elaborate on this idea, when the research team enters the room with the vases filled with the black goo, one of the scientist's footprints uncovers some worms. The goo soon begins to flow into the ground, and within a day (I think) two guys encounter a white snake-like creature that pops up out of the goo that's created a sort of stream in the room. Like the engineers, it's completely white and unbelievably strong, but unlike them it has no eyes and regenerates instantly when it's cut in half. It can only be one of the worms, mutated into a three-foot long killing machine in a matter of hours. Then there's Dr. Shaw's boyfriend, who's infected with a single drop of the goo in his drink. He becomes deathly ill in hours, and after he makes love to Shaw she is pregnant in 10 hours and the fetus is fully developed in no time at all. Now to switch gears, there are religious messages that pop up in several scenes. Dr. Shaw wears a cross and wants it back when it's taken from her; she asks her dad about death and an afterlife, repeatedly talks about "what I choose to believe," and the mural on the ceiling in the room full of vases appears to me to be a perversion of Michelangelo's "Creation of Adam," with an Engineer reaching out to (or trying to pull away from?) some creature that can't quite be recognized. Very cool stuff, if I'm right. Why else would the Engineers take the time to paint such a detailed work in that particular place? In the end, a movie like this is open to so much discussion and there are probably several things I missed (I only saw it once). Scott must give us another one because Shaw concludes with "I am still searching" as she takes off in one of the Engineers' ships. So, I guess there's one more bridge to cross before we connect with "
4 out of 5 people found this review helpful.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted January 23, 2013
Amazing groundbreaking film. Better than the first Alien film even.
Ridley Scott has done it again, returning to his mythos and setting it back on course.
The answers are all there if you have the brain to figure out the mystery. Such a rich and beautiful story.
Some of the best and most interesting complex characters I have ever seen in a Science Fiction. A genera seriously lacking in such.
I look forward to the wonderful Elizabeth Shaw and David 8 in the sequel.
2 out of 2 people found this review helpful.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted February 23, 2013
This movie disappointed me. I am a huge fan of sci-fi, and love films about exploring space, first contact, etc. I thought the cast was kind of wasted. The photography was very dark. The subject matter was dark. This movie was about searching for the origins of humanity in space. There was so much potential. I feel like an opportunity was missed to say something uplifting and profound. Instead it was the usual characters creeping around in the dark and encountering a lot of gore. There is obvious potential for a sequel. In the right hands, it could be much more interesting.
Michael Travis Jasper, Author of the Novel “To Be Chosen”
Posted November 23, 2012
Tries to be a prequel, but does not connect, substituting CGI horror for emotional horror. It's like, all of a sudden we are supposed to believe that there was higher technology BEFORE ALIEN. And gimmie a break: Spoiler Alert: the discovered Star Pilot's head is... actually just a masking helmet for a humanoid giant inside?! Listen to the Director's commentary and the added feature interview and you will probably conclude that he was in turn being directed by Studio Flaks and other mysterious people who kept changing things and adding and deleting scenes, re-writing, editing, etc. Look at it this way: if Speilberg had substituted his Warhorse for the alien ship, it still would have cartwheeled and ran over people. Even with imagining all the Deleted Scenes re-inserted, the movie is a breakfast hash of stolen ideas. For instance, the "Bad Guy" crew member plays essentially the same character as he did on TV in The Borgias. Horrible type casting. The nasty Company Woman still appears to be The Evil Queen in Snow White. New twist: a smart black man--alone smart in an otherwise dumb crew--has graduated from coal stoker and promoted from the engine room (Alien) to pilot of this bigger, finer starship. Don't worry, we don't get to see Sigourney Weaver as a beautiful child playing with a plastic spaceship in a sandbox. Humor is not allowed, unless you count crossing Indiana Jones cave exploration with old Star Trek tropes, adding Native American religion to The Tree of Life, and trying to resurrect an otherwise wonderful franchise by using a fine actress with a familiar face, but who is NOT Weaver.
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Posted February 28, 2013
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