Prometheus

Prometheus

3.2 7
Director: Ridley Scott

Cast: Noomi Rapace, Michael Fassbender, Charlize Theron

     
 

View All Available Formats & Editions

A team of space explorers embarks on a fantastic voyage to the edge of the universe after making a profound discovery that hints at the true origins of the human race in this belated pseudo-prequel to director Ridley Scott's 1979 sci-fi classic Alien. Isle of Skye, Scotland: 2089. Archeologists Elizabeth Shaw (…  See more details below

Overview

A team of space explorers embarks on a fantastic voyage to the edge of the universe after making a profound discovery that hints at the true origins of the human race in this belated pseudo-prequel to director Ridley Scott's 1979 sci-fi classic Alien. Isle of Skye, Scotland: 2089. Archeologists Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green) discover a cave drawing featuring a mysterious star pattern not found in our solar system. Upon comparing the image with similar other ones found at different archeological digs all over the planet, the pair realizes that they all match perfectly. They're convinced that the image is an invitation, and set out on a high tech Weyland Industries ship called Prometheus to - just maybe - unlock the mysteries of mankind's origins on Earth. Flash forward to Christmas Day, 2093. The crew of Prometheus awakens from stasis to learn they have arrived at their destination. With highly-intelligent android David (Michael Fassbinder) assisting the mission, and chilly Weyland representative Meredith Vickers (Charlize Theron) calling the shots, Captain Janet (Idris Elba) brings the ship down to the surface, landing next to a line of awe-inspiring structures that appear to have been built by intelligent beings. But when a small crew led by Elizabeth and Charlie explore the remote planet, the artifacts they find threaten to contradict everything mankind had been taught about its origins. But there's a secret in this chamber that's lain dormant for centuries, and now that it senses life, it finally sees an opportunity to escape. If it does, the trip that was supposed to answer al of our biggest questions about life could also be the one that seals the fate of every living creature on planet Earth.

Read More

Editorial Reviews

All Movie Guide - Jason Buchanan
Great science fiction comes from great human drama. By setting a story on a distant planet or galaxies not yet discovered, a writer grants himself the creative freedom to explore existential concepts that might seem far-fetched with his feet on the ground; in space, the possibilities of answers to our most pressing questions are only limited by the storyteller's imagination. As frustratingly complex and thematically cumbersome as its predecessor was simple and elegant, Ridley Scott's Prometheus charges ahead with an ambitious sci-fi plot exploring the roots of the human race, but stumbles due to a screenplay that refuses to address the many compelling ideas it raises early on. There are plenty of heady concepts to be found in the script by Jon Spaihts and Damon Lindelof, but the trouble is that once they've been posed, the story begins to favor simple -- albeit somewhat effective -- sci-fi spectacle over true existential terror, resulting in a disjointed, unsatisfying experience. Isle of Skye, Scotland: 2089. Archaeologists Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green) discover a cave drawing featuring a mysterious star pattern not found in our solar system. Upon comparing the image with similar ones found at different archeological digs all over the planet, the pair realize that they all match perfectly. They're convinced that the image is an invitation, and set out on a high-tech Weyland Industries spaceship called Prometheus to -- just maybe -- unlock the mysteries of mankind's origins on Earth. Flash forward to Christmas Day, 2093. The crew of Prometheus awaken from stasis to learn they have arrived at their destination. With highly intelligent android David (Michael Fassbender) assisting the mission and chilly Weyland representative Meredith Vickers (Charlize Theron) calling the shots, Captain Janek (Idris Elba) brings the ship down to the surface, landing next to a line of awe-inspiring structures that appear to have been built by intelligent beings. But when a small crew led by Elizabeth and Charlie explore the remote planet, the artifacts they find threaten to contradict everything mankind had been taught about its origins. And there's a secret in a chamber they come across that's lain dormant for centuries, and now that it senses life, it finally sees an opportunity to escape. If it does, the trip that was supposed to answer all of our biggest questions about life could also be the one that seals the fate of every living creature on planet Earth. The first 30 minutes of Prometheus might just be some of the most exciting science fiction of the past few decades. With an enigmatic preface to set up the story, top-shelf production values, and thought-provoking concepts wrapped up in a tale that successfully conveys the spirit of exploration, it's easy to get lost in the action. Shortly after the crew touch down on the alien planet and set out on their mission, however, the cracks in Lindelof and Spaihts' screenplay begin to show: Characters begin acting in ways that conveniently serve the story rather than reflecting their true nature, and tense sci-fi set pieces begin to overshadow the film's ambitious ideas. Some of it makes a fair amount of sense when you keep in mind that Prometheus was initially conceived as an Alien prequel, but once it becomes apparent that the screenwriters have little interest in offering answers to their questions, frustrated Lost fans may start having some disturbing flashbacks (Lindelof was one of the show's creators). While it's true that the most effective sci-fi films (Alien included) allow viewers to use their imagination to a certain extent, should the gaps in the storytelling become too wide, the screenwriters risk allowing the audience to fall right into the void with no hope of finding their way out. That's essentially what happens with Prometheus as the wonder of space exploration gives way to the horror of the unknown, leaving the viewer to marvel at the mastery of the filmmaking while completely disengaging intellectually. Truth be told, the Alien franchise needed a breath of fresh air at this point; after two undisputed classics and two noble attempts by respected visionary filmmakers, the familiar formula was going stale. Like Jason in the Friday the 13th series or Leatherface in Texas Chainsaw Massacre, we can only watch the xenomorphs stalk their prey amongst the stars so many times before we start to experience déjà vu (the less said about the two Alien vs. Predator films, the better). For a while, it appears as if Scott and company have managed the impossible by constructing a new mythology on the foundation of an old one. But the longer questions go unanswered, the more frustration begins to set in, until it becomes obvious that the writers (a) never had any real intentions of following through with their ideas in the first place or (b) never sought anything more than to plant the seeds of a new franchise. Either way, it's an insult to the fans who have dreamt of the possibilities for decades. They truly deserved something more. That said, Prometheus is positively gorgeous to behold -- a breathtaking blend of richly textured cinematography and awe-inspiring set design -- and it always maintains momentum, even while falling apart on the page. Quiet scenes, like that of David casually killing time while the crew is in stasis, possess a pacing that pulls us in and keep us engaged even when it's all going wrong. And after those first signs of danger begin to emerge, we're still treated to a few set pieces that genuinely get the heart racing. If only the screenwriters engaged our intellect like the filmmaker engages our fears, we would have had a new classic, rather than a beautiful, unfulfilled promise.

Read More

Product Details

Release Date:
10/09/2012
UPC:
0024543814092
Original Release:
2012
Rating:
R
Source:
20th Century Fox
Region Code:
1A
Presentation:
[Wide Screen]
Sound:
[DTS 5.1-Channel Surround Sound, Dolby AC-3 Surround Sound]
Time:
2:04:00
Format:
3D
Sales rank:
5,511

Special Features

Closed Caption; Disc 1 Blu-ray 3D feature film:; Prometheus in high-definition 3D; Disc 2 Blu-ray feature film:; Prometheus in high definition; 2 audio commentaries by director/producer Ridley Scott and by writers Jon Spaihts and Damon Lindelof; The Peter Weyland files; Deleted and alternate scenes - including alternate beginning and ending; Disc 3 Blu-ray bonus features:; The Furious Gods - making Prometheus documentary; Weyland Corp. archive - production galleries & featurettes; Second screen movie app - interact with Prometheus on your tablet or smartphone as you watch the movie and bonus disc; Disc 4 DVD feature film:; Prometheus in standard definition; Prometheus for portable media players

Cast & Crew

Performance Credits
Noomi Rapace Elizabeth Shaw
Michael Fassbender David
Charlize Theron Meredith Vickers
Idris Elba Janek
Guy Pearce Peter Weyland
Logan Marshall-Green Charlie Holloway
Sean Harris Fifield
Rafe Spall Millburn
Emun Elliott Chance
Benedict Wong Ravel
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
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 Automated Voice (Swahili)
Wannaporn (Kay) Rienjang Automated Voice (Thai)
Zed Sevcikova Automated Voice (Czech)
Sonam Dugdak Automated Voice (Tibetan)
Reynir Thor Eggertsson Automated Voice (Icelandic)
Shin-Ichiro Okajima Automated Voice (Japanese)
Charalambos Dendrinos Automated Voice (Greek)
Berhane Woldegabriel Automated Voice (Amharic)
Annie Penn Ship Computer Voice
Robin Atkin Downes Ship Computer Voice

Technical Credits
Ridley Scott Director,Producer
Alex Cameron Art Director
Charlie Campagna Sound Editor
Jana Carboni Makeup
Anthony Caron-Delion Art Director
Harry Cohen Sound Editor
Michael Costigan Executive Producer
Weta Digital Animator
Peter Dorme Art Director
Michael Ellenberg Executive Producer
David Giler Producer
Nina Gold Casting
Graham Hall Camera Operator
Walter Hill Producer
Marc Homes Art Director
Mark Huffam Executive Producer
Paul Inglis Art Director
Avy Kaufman Casting
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
Mary Richards Co-producer
Pietro Scalia Editor
Neal Scanlan Makeup Special Effects
Jon Spaihts Screenwriter
Gary Spratling Camera Operator
Marc Streitenfeld Score Composer
Karen Vassar Sound Editor
Karen Wakefield Art Director
Tim Walston Sound Editor
Dariusz Wolski Cinematographer
Trevor Wood Special Effects Supervisor
Janty Yates Costumes/Costume Designer

Read More

Scene Index

Disc #1 -- Prometheus
1. Scene 1 [5:12]
2. Scene 2 [2:32]
3. Scene 3 [3:46]
4. Scene 4 [3:38]
5. Scene 5 [4:54]
6. Scene 6 [2:27]
7. Scene 7 [5:10]
8. Scene 8 [4:14]
9. Scene 9 [2:12]
10. Scene 10 [3:42]
11. Scene 11 [2:52]
12. Scene 12 [5:03]
13. Scene 13 [2:58]
14. Scene 14 [1:35]
15. Scene 15 [3:33]
16. Scene 16 [2:35]
17. Scene 17 [2:59]
18. Scene 18 [1:57]
19. Scene 19 [2:48]
20. Scene 20 [1:43]
21. Scene 21 [2:56]
22. Scene 22 [2:16]
23. Scene 23 [3:55]
24. Scene 24 [1:55]
25. Scene 25 [7:55]
26. Scene 26 [2:06]
27. Scene 27 [3:00]
28. Scene 28 [2:34]
29. Scene 29 [2:38]
30. Scene 30 [2:23]
31. Scene 31 [2:59]
32. Scene 32 [2:59]
33. Scene 33 [4:42]
34. Scene 34 [3:39]
35. Scene 35 [5:57]
36. Scene 36 [5:40]

Videos

Customer Reviews

Average Review:

Write a Review

and post it to your social network

     

Most Helpful Customer Reviews

See all customer reviews >

Prometheus 3.3 out of 5 based on 0 ratings. 7 reviews.
RobbieBobby44 More than 1 year ago
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 &quot
Anonymous More than 1 year ago
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.
Anonymous More than 1 year ago
Anonymous More than 1 year ago
MichaelTravisJasper More than 1 year ago
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”
SleepDreamWrite More than 1 year ago
A bit slow. Weird and strange but very pretty to look at with some creepy moments. A bit vague, leaving more answers than questions.
AlchemystAZ More than 1 year ago
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.