Theology has long been considered a dangerous pursuit by religious insiders andobservers. Ridley Scott's Prometheus provesit. Definitely a prequel to the sci-fi/horror Alien series (despite the director’s and studio’soccasionally vehement denials over the last two years), it starts outintriguingly as an exploration of faith and humankind’s origins. Tomy disappointment, though, it largely abandons this once the familiarface-huggers and chest-bursters start to appear.Noomi Rapace (LisbethSalander in the superior Swedish version of TheGirl with the Dragon Tattoo and its sequels) leads a cast thatincludes newly-christened “ice queen” Charlize Theron, Guy Pearceburied in old age makeup, and most valuable player Michael Fassbender as one ofthose traditional Alien androidswith mysterious, potentially sinister motives. Their characters areunited in the wake of a monumental discovery by the deeply religious Dr.Elizabeth Shaw (Rapace), who uncovers matching pictographs from diverse ancientcultures indicating Earth was once visited by giant beings from another world thatmay have formed us after themselves, albeit on a less monumental scale. Shaw and her boyfriend secure the trillion-dollar spaceship of the film’stitle from Pearce and Theron’s corporation and they all embark together ona galactic voyage to meet their maker... in every meaning of the phrase.
Following abeautifully-filmed if ultimately confusing prologue and this fine expository set-up,things degenerate in terms of both storyline and quality once the explorersreach their destination. Scott and the screenplay by Lost’s Damon Lindelof kick thingsinto overdrive and move events along a little too quickly. Within minutesof landing, Shaw & Co. rush into a massivestructure they discover, the first of many unwise decisions. The more dim-wittedcrew members begin to split up, touch things they shouldn’t and, beforeyou can say “acid blood,” encounter early but still nastyvariations of the evolving alien species. Shaw, who is initially infertilefor reasons never explained, soon discovers herself pregnant and initiates themovie’s most squirm-inducing sequence. Being a Ridley Scott production, it's all beautifully designed and shot but with few, brief exceptions, theplot developments are thoroughly predictable.I left the theaterfeeling Prometheus has definitelybeen over-hyped by the fanboy press, early reviews, and the director himself. Sorry, Ridley and his admirers: as much of a genre classic as Scott’s then-startling,1979 Alien is, James Cameron madethe standout entry in the series, 1986’s Aliens. I even consider the oft-maligned Alien 3and Alien Resurrection to be better,more adventurous films than Prometheus. Scott has said the main impetus for re-visiting the franchise after 30+ years was his persistent wonderingabout the backstory of the dead, oversized pilot (dubbed the“Space Jockey”) discovered in the original movie. Was thatreally enough to sustain a feature-length prequel? Clearly no, especiallysince the Space Jockey’s final resting place as seen in Alien is altered during Prometheus’ finale.
There is, however,something admirable about the seriousness with which the film depicts Shaw’sfaith journey. The well-intentioned scientist is asking time-honoredquestions about the origins of life, the existence of God or other creative forcein the universe, and the exact nature of humanity’s relationship with theCreator, theological questions that could — and did — get one burned at thestake just a few centuries ago. Shaw is tempted to abandon her longtimefaith as it is increasingly challenged by a hostile alien world, but shere-claims her faith in the end despite the terrible suffering she and her crew matesendure. She also embarks on the next stage of her exploration, virtually assuring a sequel.Like several othereminent directors of his generation (including Terrence Malick, Woody Allen andClint Eastwood), Scott is clearly using his late-career work to address issuesrelated to faith, spirituality and the afterlife. Whereas Robert Zemeckiswas able to blend science fiction and religion effectively in 1997’s Contact, Scott’s similar effort in Prometheus falls short. Still, Scottgets a gold star not only for asking the questions but surviving the quest.Reverend’s Rating:CReview by Rev. Chris Carpenter, resident film critic of Movie Dearest and Rage Monthly Magazine.
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