Not Tom Hardy

Expectations can be dangerous things. Ridley Scott‘s twentieth feature film is a return to a genre that he hasn’t visited in thirty years, but it’s also one that’s simultaneously been quite good to him. Alien and Blade Runner are seminal works of science fiction that went on to influence a multitude of future films, and by any stretch of the imagination they set an impossibly high bar for anyone to reach (let alone the director of A Good Year). Like some ambitiously misguided mash-up of those earlier movies Prometheus features stark futuristic settings, scenes of graphic biological horror and grand questions on what it means to be human, but while its pieces excite and engage its whole fails to form anything resembling a finished thesis. Instead we have big ideas in the form of casual statements destined to go unchallenged. It can’t be overstated how frustrating this is when so many of the film’s smaller elements leap from the screen (in 3D or 2D) to make our eyes widen, our pulses race and our minds quiver at the possibilities. Stunningly beautiful visuals, both natural and effects-wise, help create a dangerously seductive world that wraps viewers in slime covered tentacles and thoughts. Call-backs (call-forwards?) to Alien tease us with answers and even more questions while other parts offer enticing glimpses of creation itself. This is epic science fiction storytelling that too frequently forgets it’s telling a story and yet still manages to be worthwhile spectacle in spite of itself.

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