Scott directs this implicit prequel to his terrifying 1979 sci-fi noir classic ALIEN about a crew's exploration on a distant planet that might have the answers to the origin of mankind and the meaning of life. Great subtle nods to the other films in the franchise, especially ALIEN; however, the touches of horror turn into sci-fi/action nonsense by film's end, with very little (if any) neo-noir elements that made ALIEN such a fantastic film. Admirable that CGI was used as little as possible outside of establishing-shots and Streitenfeld's score is one of the best that the industry has offered in the last few years. PROMETHEUS is nicely packed with ambiguity and symbolism to keep itself fresh even after multiple viewings; however, when a film has this incredibly graceful method of storytelling, why make the protagonist someone seeking answers instead of asking questions? It's a contradiction of how the audience is intended to feel and therefore distances us from our main character. Star Rapace looks weak and plays the main character equally timid to her physical appearance, with no emotional strength whatsoever; and Marshall-Green's casting as her partner and love-interest is so mismatched and unnecessary. Did they really need 45-year-old Pearce to play a 103-year-old man? UGH! There are plenty of talented elderly actors who could have handled this simple role. At least Elba, Fassbender and Theron are pleasant and portray interesting characters to make up for the terrible casting of Marshall-Green, Pearce and Rapace. Lots of pros, but lots of cons—a decent film should at least have a couple more pros than it does cons, but PROMETHEUS' pros and cons are pretty equal.
Drama about San Diego streetwalkers Jacobs and Ross and how they came to be through years of sexual abuse. Brave, disturbing and insightful, yet strangely ceases to be thought-provoking—it pretty much is what it is. Tom Arnold is standout in possibly the best role of his career, not to mention Perrineau pulling the audience into Hell with just one unforgettably disturbing scene. Suffers from the FULL METAL JACKET-effect, where the first act easily tops the second act—and something is askew when the child actors (Simpkins and Smith) are easily stronger than the adult actors playing the same characters (Jacobs and Ross). The romantic undertones between the two leads are interesting, but nonetheless questionable as it distracts and interrupts more important conflicts at hand.
