A team of explorers discover a clue to the origins of mankind on Earth, leading them on a journey to the darkest corners of the universe. There, they must fight a terrifying battle to save the future of the human race.
In 2074, when the mob wants to get rid of someone, the target is sent into the past, where a hired gun awaits - someone like Joe - who one day learns the mob wants to 'close the loop' by sending back Joe's future self for assassination.
After the crew of the Enterprise find an unstoppable force of terror from within their own organization, Captain Kirk leads a manhunt to a war-zone world to capture a one-man weapon of mass destruction.
In the year 2154, the very wealthy live on a man-made space station while the rest of the population resides on a ruined Earth. A man takes on a mission that could bring equality to the polarized worlds.
As a war between humankind and monstrous sea creatures wages on, a former pilot and a trainee are paired up to drive a seemingly obsolete special weapon in a desperate effort to save the world from the apocalypse.
Clark Kent, one of the last of an extinguished race disguised as an unremarkable human, is forced to reveal his identity when Earth is invaded by an army of survivors who threaten to bring the planet to the brink of destruction.
The brash James T. Kirk tries to live up to his father's legacy with Mr. Spock keeping him in check as a vengeful, time-traveling Romulan creates black holes to destroy the Federation one planet at a time.
This film is set in 2093 and takes place in the same universe as the 'Alien' movies. A group of explorers, including some archaeologists, are on an "undisclosed" mission. They arrive at a planet millions of miles away from Earth. The team spot what they believe to be signs of civilization. They go to investigate and find more than just signs, they find conclusive evidence. But some of them have an ulterior motive for being there, including the Weyland Corporation. They believe that this is where the human race actually came from. Things soon turn from excitement to survival once inside their discovery. Written by
Michael Hallows Eve
According to Ridley Scott, the film's plot was inspired by Erich von Däniken's writings about ancient astronauts: "Both NASA and the Vatican agree that it is almost mathematically impossible that we can be where we are today, without there being a little help along the way. That's what we're looking at: we are talking about gods and engineers, engineers of space. Were the Aliens designed as a form of biological warfare, or biology that would go in and clean up a planet?" See more »
The person whose job it is to map the structure (Fifield) then gets lost trying to leave it, despite having access to his own maps. See more »
I'd really, really like to blame the screenwriters for this atrocity but there is no doubt all the responsibility lies with the director/producer that hired them.
One must remember that by now Ridley Scott is very, very old. As most old people he becomes increasingly obsessed with two things: preaching to younger generations and making some capital masterpiece to leave as a lasting testament. That's the only way I can explain why every new film of his is a whole level more ambitious than the last one. The next story in line I think is about Moses. Surprise. Everything else with Scott keeps getting better and better but the stories he puts on the screen keep getting more ludicrous and sermon-like.
And just what does an old master of commercials and spectacles have to say to his audience? Well, nothing really clever and profound, as it appears, and "Prometheus" is a testament to that. Conceived as a prequel to "Alien", this is an odd combination of "2001: A Space Odyssey", "Avatar" and, of course, "Alien" itself. There is a clear ambition to use it as a vehicle for a great philosophical debate about the origin and purpose of life (an apt agenda for an aging author) - but all seriousness is down the drain as soon as one awakes the evil ghost of Erich von Daniken and attempts to explain life on Earth as some sort of extraterrestrial intervention. Just as in "2001", the story is founded on misconceptions about evolution, but what makes it worse, the only character that supports Darwinism (and actual science) is portrayed as a moron. Deliberately? I'm afraid so.
On the other hand, Scott puts two religious "scientists" in the spotlight and uses them to ask and answer all the questions that concern Scott as an author. Unfortunately (or fortunately, as far as I'm concerned), both of the actors portraying them are pretty unsympathetic and uninteresting. Logan Marshall-Green has zero screen presence and Noomi Rapace is just a cute face that is, towards the end of the film, supposed to walk in Sigourney Weaver's shoes. To be honest, they didn't have a decent script to work with either. Their dialog was disjointed, emotionless and unconvincing, saturated with religious and pseudo-scientific garbage, all to satisfy Scott's penchant for popcorn philosophy. Even if they did have something to say
"Alien" franchise was never about philosophy: it was about suspense
Of course, they had to squeeze some action between philosophical sessions. So it's there and it's spectacular and it's well filmed. But it's also often nonsensical, self-serving and drawn-out. So is the said dialog and so is the motivation of all the main characters. The last film I sat through that was as nonsensical as this was "Avatar".
They also had to utilize every single cliché in the Hollywood Book of Clichés: token black guy, love story, blonde villains, two buddies with a special rapport, anti-corporate sentiment, last second escapes and what not. And there are, of course, ties with the original "Alien", but they are so weak and thrown in just for a good measure, that it doesn't feel like "Alien" franchise at all. It's just a movie with a famous "chest-burster".
All in all, the film opens more questions than it answers. But not of a "why are we here?" and "where do we go?" kind. It rather keeps one wondering about numerous plot-holes and inconsistencies and stupid characters. And, of course, it left me wondering who is "Prometheus" referring to in the first place. I'm versed enough in ancient mythologies to realize what Scott tried to do here - recycle and combine basic motives of mythological stories into a grand tale of life and death and ethos of sacrifice. He came up with a crappy sermon-movie that would have otherwise, by it's technical merit, been terrific. That it failed so miserably, despite the luxurious package, speaks volumes of the ideas it tried to sell.
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