Unfortunately, to address Prometheus holistically without taking into account Ridley Scott's ventures into the realm of science-fiction, more specifically Alien (although Blade Runner is to me, his best film), would make it a bit too difficult to critique the film. Quite naturally, given that Scott has in past decades, put out some of the more enduring and salient science-fiction films time has held, quite literally altering the genre and its relationship with film, I was very intrigued by Prometheus, and at least in part, this intrigue was fulfilled.
More specifically, the first shall we say, thirty minutes of the film were every bit as wondrous as one could hope; certainly, their beauty was of a more grandiose and genuinely epic nature than the surreal minimalistic beauty of Alien, but I felt that those opening moments were as magnificent in their own way. Truth be told, I would even say the film was brilliant for its entire introductory-phase, as it moved along at a graceful pace, revealing images of aesthetic wonder.
Sadly, the film went significantly downhill for me, when it actually began to pick-up. As potential life-forms began to be actually sought-out (more on the plot and ideas of the film in the following paragraph), I felt strongly that Prometheus lost its sense of beauty and began to move on at a more typical horror pace, leaving behind most of the magic. It is also important to address the way in which Fassbender's nuanced turn as David and Rapace's role as Elizabeth remain consistently great throughout the film, adding significant interest even when other elements may decline in quality.
Now, without speaking of specifics in regards to the plot or ideas of the film, I must at least touch down in this realm briefly. Following the introductory moments of the film, there is this unfortunate feeling of all-overness that seeps into Prometheus; while the plot itself is quite simple and not at all complex, the way it's presented feels quite rushed for the majority of the film, as frames are no longer serving an aesthetic purpose towards the end, but a utilitarian one. I also can't quite say that I mesh with the crowd that finds Prometheus particularly compelling idealistically, not because I don't find its ideas fun and potentially interesting, but because I think most ideas are best communicated subconsciously, through experience and the senses. Unlike Scott's previous science-fiction giants, Prometheus seems to neglect this, in the end.
C.W.
