![]() ![]() With so much of the film’s hype centred on the is-it-isn’t-it an Alien prequel debate, it’s easy to forget that Prometheus is its own beast few seem to have lost sight of that reality quite so much as Scott himself, who takes every opportunity to overbearingly harken bark (or rather forward) to his 1979 classic. He is easily the most fascinating character of the film, conjuring parallels to Pinocchio and Wall-E without ever seeming a derivative impression of either. His function as an ironic inversion of the human characters’ search for their origins brings a lot to the film on a thematic level, even despite the heavy-handed approach the writers take to ensuring the audience will pick up on this.įassbender imbues the robot David with more delicate humanity than any of the cast can instil in their own mortal characters, his performance living up in every way to the promise of his eerie viral video released just a few months ago. Fassbender imbues the robot David with more delicate humanity than any of the cast can instil in their own mortal characters, his performance living up in every way to the promise of his eerie viral video released just a few months ago. Like all else in the film, though, she is vastly overshadowed by the astounding work of Michael Fassbender. Perhaps a dry character on the page, Shaw finds in Rapace the right kind of emotional investment and fearful curiosity to make her work at the heart of this narrative. Rapace is a great talent, bringing a good deal more to her role than the script’s perfunctory romance. Noomi Rapace’s Dr Elizabeth Shaw is an intriguing lead, her Christian leanings forming one of the centrepieces of the film’s thematic search for meaning. A sprawling crew makes for many a one-note character, though each at least serves a clear narrative function, even if it is only to forewarn the mysterious dangers of this new world. With so attention-grabbing and awe-inspiring a visual aspect, it’s not hard to understand how Prometheus’ narrative could find itself somewhat dwarfed. In the arena of blockbuster event movies, it immediately establishes itself as a leading theatrical experience, a bold display of cinema’s greatest current innovations. His film is a technical marvel on every level, an orgy of visual and aural sumptuousness that fills one with a sense of dumbfounded wonderment. Sci-fi always works with big ideas, and Scott is certain to match these with visuals just as massive, with a sound design just as huge. ![]() His film is a technical marvel on every level, an orgy of visual and aural sumptuousness that fills one with a sense of dumbfounded wonderment.įrom a design standpoint, Prometheus is just about flawless, the gorgeous view of Earth it proffers no more wowing than the elaborate constructions of the titular ship or the magnificent scope of the planet to which it journeys. Scott doesn’t keep us long on Earth, but he ensures that it makes an impression, that its natural wonders are clearly emphasised. The film’s opening sequence, shot with staggering beauty by Dariusz Wolski, emphasises the luscious vistas of our world, the entrancing majesty of home. Now, with Prometheus, he takes us back to Earth. Back in the 1970s when man had walked on the moon and vast new worlds were open to our eyes, Ridley Scott gave us Alien. And then a lake, the shades of green, and life. The camera sweeps across a barren plane, flying over craggy rocks and through low-hanging cloud. Cast: Noomi Rapace, Logan Marshall-Green, Michael Fassbender ![]()
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