Writers: Matt Sazama, Burk Sharpless (screenplay), Bram Stoker (novel)
Stars: Luke Evans, Sarah Gadon, Dominic Cooper, Charles Dance
Release date: October 3rd, 2013
Distributor: Universal Pictures
Countries: USA, UK
Running time: 92 minutes
Best part: The production values.
Worst part: The overbearing performances.
Since Hollywood’s transition from ‘classic’ to ‘modern’, big-budget entertainment has focused entirely on sex appeal. Defined by awe, devilishness, and attractiveness, Tinseltown promotes aesthetic beauty over substance. Even the idea of ‘style’ itself – distinguishing one’s work from everything else – has been watered down to an extraneous extent. Now that the studio system has exhausted trends like fairytale adaptations, comic book movies, and nostalgic actioners, the world’s biggest media hub is turning cannibalistic. Dracula Untold may be the high point of blockbuster/remake/reboot fatigue. What’s next, a cuddly wolfman? A sensitive mummy? a sexy invisible man? Good luck, Universal!
Luke Evans as Vlad III Tepes/Count Dracula.
Recently, there have been several similar big-budget extravaganzas. Most of them, Twilight included, are directed at teenage girls. While some of them are mindless adaptations of classic texts. All of them, however, bend vampire mythology to their will. Mixing classic horror with explosive action and sappy romance,Dracula Untold is a horrific experiment in itself. Staggering toward its release date, this action-horror flick means little to either the people involved or those watching it. We begin with a highlight reel of one of history’s most disturbing people. We first meet Vlad III Tepes aka Vlad the Impaler (Luke Evans) in a rushed opening sequence. Depicting his fearsome fighting skills and determination, Vlad’s reputation is built on the bones of fallen enemies and kingdoms. The movie jumps forward to the central conceit, and Vlad has become a cunning warrior keeping guard of his people. Tracking a battalion of Turkish soldiers, our ‘hero’ and his men head to Broken Tooth Mountain to find answers. Instead, Vlad – the expedition’s sole survivor – unearths the world’s most terrifying secret. Vlad must also keep his home, Castle Dracula, out of the Turkish army’s hands. Led by Sultan Mehmed II (Dominic Cooper), the army asks for 1000 able-bodied boys in exchange for ever-lasting peace.
As the land’s most fearless and skilled warrior, Vlad refuses to go down without a fight. Keeping his wife, Mirena (Sarah Gadon), and child, Ingeras (Art Parkinson), away from the Turkish forces, our lead character takes on the world’s largest army. As the launchpad for Universal’s new Avengers-style franchise, Dracula Untold has been whittled down by the studio, director, screenwriters, and editor. Turning potentially-entertaining material into October-bound schlock, this production wastes several opportunities. The story, spoiled thanks to an egregious marketing campaign, is messier than a corpse in Dracula’s possession. The aforementioned opening, delivering cold-blooded exposition with static images, doesn’t deliver anything original or interesting. Those wary of the original material might stand a chance of following this sequence. However, those without said knowledge might become lost. From there, the movie leaps between concepts without purpose or warning. The first 15 minutes promises a down-and dirty superhero origin story/reboot for the archetypal vampire character. Showing off his powers – turning into a swarm of bats and utilising infra-red vision – it defines our lead character’s inner conflict with visual effects and tiresome cliches. The movie also throws two more story-lines at us. The love story and medieval warfare sub-plots turn this straight-forward actioner into a convoluted foible. Transforming this alluring villain into a misunderstood anti-hero, the movie delivers nothing for viewers to sink their teeth into.
“Do you think you are alive because you can fight? You are alive because of what I did to save you!” (Vlad/Dracula (Luke Evans), Dracula Untold).
I could say Dracula Untold “lacks bite” or “sucks”, but that would be too damn easy. The biggest problem resides within its flesh and blood: it takes itself way too seriously! The performances, drifting between maudlin and over-the-top, are difficult to comprehend. Evans, despite the charisma and immense physicality, never meshes with his fruitful character. Gadon is underused in her plot-device role. While Cooper makes for an unconvincing Middle-Eastern/moustache-twirling villain. However, Game of Thrones actor Charles Dance heartily tackles his make-up-induced role. Quicker than you can say: “Transylvania”, Matt Sazama and Burk Shapless’ screenplay delves into sprawling conflicts, overblown speeches, and Greek tragedy-like drama. Giving the story or characters little development, the alliance switches, noble sacrifices, and revelations become increasingly stupid. Speed-reading the original text, the movie pretends to understand Stoker’s words. Explaining everything with stilted exposition and silly one-liners, its thrills are few and far between. While its comedic moments fall flatter than the lid of Dracula’s coffin. Lacking experience, first-time feature director Gary Shore succumbs to the monsters leering over him. Bullied by producers and studio executives, Shore turns this gothic staple into a transparent actioner. Despite the immense budget (for a British production), his action-direction hammers the stake into the heart. Thanks to quick cuts, shaking cameras, and shoddy camera angles, the action is incomprehensible. Despite the sword-and-sandal vibe, the video-game-like sequences shrink the story’s heart and brains. However, thanks to sterling sets, costume designs, and cinematography, the production values elevate it above I, Frankenstein (but that’s not saying much).
Despite the minor positives, Dracula Untold succumbs to a mystifying and laughable case of prequelitis. Telegraphing specific events ahead of time, the movie tests its audience’s patience. Francis Ford Coppola’s 1992 Dracula suffocating aura lingering overhead, this action-oriented version is a spineless adaptation of Stoker’s masterpiece. Despite the brief run-time, the movie becomes as deadly to cinema as sunlight to a bloodsucker.
Back in the 1990s, one well-known comic-book writer sparked up the perfect concept for a truly unforgettable graphic novel. As a political and social satire, the Sin City series skewers everything our capitalism-run world has, and will ever have, to offer. Amicably, creator Frank Miller didn’t aspire to make millions when it was first released. In fact, if you read anything he’s done, or listen to any of his interviews, his unique viewpoints still stand tall. With that in mind, his recent cinematic endeavours come off as wholly contradictory and hypocritical.
Mickey Rourke and Jessica Alba tear down Sin City.
With his latest project, Sin City: A Dame to Kill For, he and co-director Robert Rodriguez are simply treading old ground for a quick profit. With this instalment blazing through cinemas, the question Should asked: why is it coming out nine years after the first one? With the 2005 original breaking the mould for comic-book adaptations, and becoming a critical and commercial surprise hit, why did it take so long? Sure, the 2008 Global Financial Crisis hit several major studios hard. However, that didn’t stop Rodriguez and Miller from crafting mega-flops like The Spirit and the Machete double. Our two pop-culture conquerors built this bewildering comeback effort from the ground up. Developing a powerful concoction of film noir, exaggerated comic-book gloss, and gritty action extravaganza, this rushed return delivers momentous highs and lows. Spreading several stories across this nightmarish ordeal, the hidden ingredients fuel its best moments. Sadly, these ingredients are hard to find. First off, in ‘Just Another Saturday Night’, we see the violent return of hulking badass Marv (Mickey Rourke). With no recollection of his past, Marv tries to figure out how and why he crashed a car before murdering several teenage gangsters. Next up, in ‘The Long Bad Night’, we are introduced to slick poker champ Johnny (Joseph Gordon-Levitt). Swaggering into Kadie’s Saloon, he hits the slot machines before besting the all-powerful Senator Roark with the cards. Soon after, Johnny is taught one major lesson: don’t mess with a Roark!
Eva Green and Josh Brolin chewing on the scenery AND each other.
These stories, rekindling the original’s invigorating tone and consistent pacing, make for a cracking first third. Throwing old and new characters through this awe-inspiring universe, the opening scenes deliver over-the-top action beats and emotional resonance. In addition, these sequences set up a magnetic mystery-thriller vibe for the narrative to capitalise on. Unfortunately, the middle and final thirds fail to deliver on the first’s promises. The third storyline, ‘A Dame To Kill For’, takes up a significant part of this instalment’s efficient run-time. After Dwight (Josh Brolin) falls for yet another one of Ava Lord(Eva Green)’s tricks, the movie’s gratuitously eyes down the slinky dames and leather-clad hookers of Old Town. With Gail (Rosario Dawson) and Miho (Jamie Chung) leading the charge, the titular storyline becomes a lugubrious mix exposition and tiresome twists. In addition, some sub-plots hinder this vignette’s overarching impact. One story-line, involving a conflict between detectives Mort (Christopher Meloni) and Bob (Jeremy Piven), sucks the tension and gravitas out of this otherwise intriguing narrative. However, the final third’s vignette, ‘Nancy’s Last Dance’, in which Nancy Callaghan (Jessica Alba) – recovering from saviour John Hartigan (Bruce Willis)’s suicide – heads straight for Roark, lacks this series’ coherency, humour, and allure. Relying on kooky comedic moments and tiresome action beats, this storyline is nowhere near as creative as Rodriguez and Miller think it is. Ultimately, our two writer/directors never blend these heavy-handed, sequel/prequel-purposed vignettes together effectively. Thanks to overcooked dialogue, hokey narration, and misogynistic overtones, Miller’s involvement nearly eviscerates this puzzling instalment.
“Sin City’s where you go in with your eyes open, or you don’t come out at all.” (Johnny (Joseph Gordon-Levitt), Sin City: A Dame to Kill For).
Joseph Gordon-Levitt fuelling the film noir flame.
Creating ‘The Long Bad Night’ and ‘Nancy’s Last Dance’ specifically for this adaptation, Rodriguez and Miller’s latest effort awkwardly fuses their once-celebrated styles with more-recent ticks. As two great tastes that don’t go together anymore, Miller’s cynical perspective and Rodriguez’ nostalgia-drenched glow never blend. Fortunately, Sin City: A Dame to Kill For clings onto the original’s breathtaking visuals. In fact, Rodriguez’ style pays off throughout. Bolstering their black and white creations, his atmospheric direction delivers several memorable flourishes and captivating compositions. Indeed, his cinematography, editing, and production design choices elevate every sequence. Filling certain frames with smoke, chiaroscuro lighting patterns, kinetic colour splashes, blood splatters, and breasts, his direction bolsters Miller’s nihilistic narrative and abrasive character designs. The action, despite harming the climax, bolsters certain panels and ideas. Above all else, Rodriguez deserves credit for rewarding such respected performers. Credit belongs to this obscene cast for fuelling this belated instalment. Despite the obvious nine-year hiatus, Rourke, Alba, Boothe, and Dawson efficiently sink back into their beloved characters. New cast members including Brolin, Meloni, Piven, and Dennis Haysbert perform adequately despite the challenges involved. However, chewing up the scenery, Gordon-Levitt and Green stand out in valuable roles.
Beneath the wind and rain coursing through Sin City: A Dame to Kill For, Rodriguez and Miller languish in its seedy underbelly. Immersing themselves within this world, these writer/directors fail to re-capture the original’s imagination and vigour. Becoming an oppressive parody of original, this instalment comes off like an ageing stripper – once flexible and courageous, now belligerent and unconvincing. However, credit belongs to Rourke, Brolin, Gordon-Levitt, and Green for embracing their surroundings and delivering splendid turns in two-dimensional roles. Clearly, in going by the trailer’s advice, they went in with their eyes open.
Verdict: An enjoyable sequel arriving nine years too late.
Stars: Jason Clarke, Andy Serkis, Gary Oldman, Keri Russell
Release date: July 11th, 2014
Distributor: 20th Century Fox
Running time: 131 minutes
Best part: Serkis’ fascinating performance.
Worst part: The irritating supporting characters.
1968, with new issues sprouting unexpectedly as the decade drew to a close, was certainly a revelatory and thought-provoking year for Hollywood cinema. Bolstering the decade’s taste in celluloid entertainment, sci-fi and action won out over the attention-hungry pack. 2001: A Space Odyssey proved Stanley Kubrick to be Hollywood’s greatest genre filmmaker, while Night of the Living Dead and Bullitt were dead-set box-office winners. However, one post-apocalyptic adventure flick dared to mix the zeitgeist with wild thrills. I’ll give you a hint: “You maniacs! You blew it up!”.
Jason Clarke, Kerri Russell, and Kodi Smit-McPhee
No, I’m not yelling at my readers. I’m, of course, talking about Planet of the Apes. Sadly, however, this type of blockbuster cinema has been left out in the forbidden zone to wallow in a slow, painful death. Nowadays, genres and styles are pushed and prodded to fit certain desires. Thanks to a hit-and-miss crop, 2014 was in line to become the touchstone for blockbuster fatigue. With this in mind, Dawn of the Planet of the Apes swings into our line of sight to save us all. Despite the lugubrious title, this sci-fi action thriller succeeds at being taut, relevant, and poignant at appropriate moments. Like the original, the outlandish premise is met with delicate minds. Following on from 2011 series jumpstart Rise of the Planet of the Apes, DOTPOTA begins by re-capping valuable information about this invigorating franchise. Using news reports and inventive graphics, the opening credits sequence charts man’s war against Simian Flu and complete anarchy. Our story then picks up 10 years later, as our favourite cinematic primates learn the ways of a once-thriving world. The ape’s leader, Caesar (Andy Serkis), runs an intricate, hunter-gatherer system within San Francisco’s Muir Woods. Despite an uneasy alliance with scarred compatriot Koba (Toby Kebbell), Caesar’s hyper-intelligence and reasonable motives make for the tribe’s best chance of survival.
At the same time, a pocket of human survivors, led by Malcolm (Jason Clarke) and Dreyfus (Gary Oldman), move into downtown San Francisco. From there, our ape and human populations spark brutal confrontations. Here’s the thing about DOTPOTA – despite the noticeable flaws, the positives elevate it above most blockbusters of its type. The movie, moving out of the ’68 original’s shadow, lives up to our overwhelming expectations. With ROTPOTA being 2011’s most surprising blockbuster, many fans and foes walked into this instalment with trepidatious movements. How do you reinvent an already reinvented franchise? Would it dilute the series the way Tim Burton’s ill-advised remake did? Thankfully, director Matt Reeves chose to take this silly franchise to blockbuster angst’s darkest possible depths. Despite the recent spate of apocalyptic popcorn-chomping extravaganzas, this sequel stands out from the pack whist sticking to a set list of reasonable goals. Like with Avatar, the narrative explores the inner-workings of a civilisation’s highest quarters and lowest troughs. Communicating through sign language and phonetic dialogue, the ape interactions deliver emotionally resonant peaks. In several instances, Caesar, his family, their allies, and Koba share moments that amplify Hollywood’s true potential. The opening sequence, in which our apes chase down deer and kill a Grizzly bear, is a masterclass in CGI storytelling. The first third, delivering key sequences designed to change to the narrative’s trajectory, lures us in before the gut-punches come flying. Sadly, the ape characters are far more intelligent and reasonable than their human counterparts.
“Apes! Together, strong!” (Caesar (Andy Serkis), Dawn of the Planet of the Apes).
Andy Serkis as Caesar!
Unfortunately, as the narrative reaches emotional peaks and enthralling set-pieces, cracks begin to occur in DOTPODA‘s stunning veneer. Throughout this simple tale of primates and humans going ape-sh*it, plot-holes and trite twists become unwarranted obstacles in this otherwise compelling story. Linking vital scenes to major action sequences and character beats, some moments are far more stimulating than others. Eclipsing these minor quibbles, this instalment examines, and delivers answers to, some of modern civilisation’s most confronting issues. With an arms race forming between our two stead-fast factions, Reeves and co. never succumb to corny speeches or obvious symbolism. In addition, with good and bad warriors on both sides, this post-war conflict exclaims profound viewpoints about man’s treatment of his fellow man. With peace coming second to firepower, the narrative clings onto Malcolm and Caesar’s quest for diplomacy. Fortunately, the visuals and attention to detail are the movie’s standout qualities. Thanks to Reeves’ atmospheric camerawork and stark tonal shifts, his unique direction keeps the audience on edge throughout the appropriate run-time. Extended takes, including a look at human/ape warfare from a tank’s perspective, deliver wondrous flourishes within an otherwise gloomy experience. Surprisingly, San Francisco’s breath-taking vistas are honoured with a post-apocalyptic aura. Of course, Caesar is this series’ most enlightening character. With Serkis at the helm, he and the SFX department deliver one of modern entertainment’s more meaningful creations.
Despite the hit-and-miss human characters and baffling conveniences, DOTPOTA is far-and-away one of 2014’s most intriguing blockbusters. With viewpoints and allegiances pushed to breaking point, the sombre tone and moral ambiguity hit hard during some of this year’s most heart-breaking scenes. With Serkis’ purposeful mannerisms and startling commitment shining through, his work may inspire others to revolt against Hollywood’s lack of respect for motion-capture performance.
Writers: Mitchell Kapner, David Lindsay-Abaire (screenplay), L. Frank Baum (novels)
Stars: James Franco, Mila Kunis, Rachel Weisz, Michelle Williams
Release date: March 8th, 2013
Distributor: Walt Disney Studios Motion Pictures
Running time: 130 minutes
Best part: Raimi’s direction.
Worst part: James Franco in the lead role.
Whether you are a spirited youngster, wicked witch or cowardly lion, everyone is fond of the 1939 classic The Wizard of Oz. It was a fantasy adventure that defied expectations and became one of the most quotable and referenced films of all time. Any sequel, prequel or re-imagining would pale in the shadow of the original. But the team at Disney have had a crack at it anyway. Oz the Great and Powerful is a surprisingly modest and charming family film.
It is also stands somewhat proudly next to the original. Disney has brought many things back to life. But was this a good idea? Sure, the budget and hard work is plastered on the screen, but did we need it? I think so. The original gave the viewer some light-hearted thrills shortly before WWII. This return to Oz also provides an enjoyable escape from reality. The story itself is pretty straight forward. Oscar Diggs (James Franco) is a frustrated, womanising young man trying at true love. Leaving his abused helper, Frank (Zach Braff), behind, a heavy gush of wind picks up his hot air Balloon and sucks him into a tornado (note the similarities to the original). Before you know it, he is transported to the bright and pristine world of Oz. On his journey, he meets the feisty Theodora (Mila Kunis), and Evanora (Rachel Weisz). With the help of Glinda the Good Witch (Michelle Williams), Oz must overcome his insecurities and rid the land of evil.
Rachel Weisz & Mila Kunis.
It’s been a while since the original was first released. The iconic elements remain with me the same way they do with popular culture. It’s a film that everyone thinks of when they hear the word ‘fantasy’. Recently, many big-budget fantasy epics have focused solely on the visuals; failing to grasp either characterisation or story (Alice in Wonderland, John Carter). Don’t get me wrong, Oz the Great and Powerful has its flaws. But it still defies huge expectations. This prequel has a certain charm to it. This tale diverts, for the most part, from the 1939 classic. It chooses instead to bring L. Frank Baum’s original ideas to life. This prequel looks at where it all began. Unlike most prequels, this movie never throws an excessive number of winks and nudges at you. When the references come, they are swift and clever (take some notes, George Lucas!). There are no glittery red shoes, no tin-men and no dogs named Toto. Having said all that, the script is very clichéd. We have seen is story done a thousand times before. They always have kooky characters, a snivelling villain, a timid hero and a prophecy. However, the dialogue and self-aware humour gives this traditional fairy tale a modern twist. The true magician at work here is the film’s director. Sam Raimi (The Evil Dead series, The Spider-man trilogy) is one of the most respected and creative directors working today. He must’ve known you can’t move the ‘elephant in the room’ that is the original. Instead he creates his own vision out of the many clichéd elements on offer. His sense of wonder and nostalgia shines through every elaborate setting and camera angle.
Zach Braff’s monkey character.
The child in Raimi is fighting its way to the surface here. So is the young director famous for creating the phenomenon that is The Evil Dead. The opening and closing credits alone speak wonders for Raimi’s admiration of the original. His directorial flourishes don’t simply stand out; they push everything magical about this film out into the audience. Speaking of that, his use of 3D is both wonderful and wacky. Instead of subtly immersing the viewer, the 3D jumps out at them. The film starts out in a glorious wash of black and white. Raimi’s camera tracks through a crowd of kooky circus performers and attendees. It’s from this moment that the world of Oz is reborn for a new generation. Raimi is paying homage to cinema itself. Much like Hugo, old and new cinema techniques are smoothly pieced together. He believes that directors are some of the best magicians on Earth. The references to both Thomas Edison and old cinema technology are important to this big-budget extravaganza. Raimi has a keen eye for inventive visuals. The film transitions from black and white colour. At the same time, the aspect ratio expands from 4:3 to widescreen. These touches give the film a true sense of wonder. It discusses the magic of cinema whilst communicating to the young target audience. The movie touches on many popular film-making trends. Hollywood has recently released many films that are either based on nostalgia or popular childhood tales (Snow White and The Huntsman, Hansel and Gretel: Witch Hunters).
“I’ll put on the show of a lifetime! The likes of which the land of Oz has never seen! Magic! Mystery! Prestidigitation! It’ll be my greatest trick yet.” (Oscar Diggs (James Franco), Oz the Great and Powerful).
This film is a step above many of those. Its visual style is what elevates this film above its competition. The special effects, though unconvincing at points, provide a bright technicolour look. The practical effects and creature designs are also second to none. The Munchkins, Tinkerers, peasants and flying monkeys create lasting emotional impact. Unfortunately, some of the iconic characters are miscast. Franco is, without a doubt, a talented actor. When he’s not stuffing up an Oscars ceremony, he is delivering powerful performances in movies such as 127 Hours and Milk. Having worked with Raimi before, he should be comfortable with his surroundings here. He, however, lacks the emotional range and charisma to pull off this type of leading man role. Actors like Robert Downey Jr. and Jeremy Renner would’ve given the character a larger-than-life presence. Having said all that, Franco is still charming at points. His character, for the most part, is thoroughly unlikeable. He never becomes the courageous leader that was promised. Kunis is also miscast. As Theodora, she is given a classic 1930’s china doll look. Her natural beauty and charm stand out when they need to. However, Kunis fails to master the twists and turns of her character. Rachel Weisz is foreboding and sexy as Evanora. I still believe that Weisz and Kunis would’ve been better if they had switched roles. Michelle Williams, in one of her few mainstream roles, steals the show. As the story’s soul, Glenda the Good Witch is a fun character. Joey King and Zach Braff also excel as the China girl and Frank/Finley the Flying Monkey respectively.
Oz the Great and Powerfulproves that Disney is a company full of imaginative ideas. Despite its flaws, this movie reaches out and grabs the viewer without letting go. To find a truly exciting family film, all you have to do is follow the yellow brick road. Tim Burton, eat your heart out!
Verdict: A light-hearted and inventive roller-coaster ride.
Stars: Noomi Rapace, Michael Fassbender, Charlize Theron, Idris Elba
Release date: June 8th, 2012
Distributor: 20th Century Fox
Countries: USA, UK
Running time: 124 minutes
Best part: Michael Fassbender.
Worst part: The unanswered questions.
Whether Prometheus is seen as a prequel or brand new adventure in the Alien universe, one thing is certain; no one does sci-fi quite like Ridley Scott. Scott, the director of memorable, smart blockbusters such as Blade Runner and Gladiator, not only excels in different genres but creates fascinating cinematic moments that will live with you forever. As the director of the 1979 classic sci-fi horror flick Alien, Scott’s highly-anticipated return to this universe is a philosophical and shocking account of the search for our beginnings.
We follow many characters, each with their own views of humanity and the mission itself. In 2089, Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green) find a star map etched into different archaeological remnants from vastly different civilisations. This constellation, highlighted by the appearance of a large figure pointing to the sky, may in fact symbolise the dawn of man. Landing on the distant moon LV- 223 three years later, the accuracy of this theory is what everyone on the spaceship ’Prometheus’ is searching for. Shaw and Holloway must encounter hostile sceptics including inquisitive human-like android David (Michael Fassbender) and hardened Weylan Corporation executive Meredith Vickers (Charlize Theron). There discoveries will however change the course of human history (for greater and worse) while creating scarily affecting problems for the ship’s largely scientist based crew.
Ridley Scott knows how to deliver truly smart sci-fi. While not as groundbreaking as Blade Runner or Alien, Prometheus carefully and uniquely asks the big questions no one has found the answers to. The screenplay by Damon Lindelof (co-creator/writer of Lost) and Jon Spaihts, based sparingly on Stephen Hawking’s recent theories on the discovery of hostile beings in the universe, uses important questions, suggesting different yet believable theories based on our evolution and of creationism, as the basis for its many character arcs. A believable relationship between this story of our beginnings and murky horror flick reminiscent of the Alien universe is executed in Prometheus, creating a truly dangerous sci-fi adventure, subtly using both references from the Alien films and the seeds to create its own universe. Many of the supporting characters feel two dimensional, developing largely predictable problems for the main characters. The performances, however, as usual with Scott, are all top notch. Rapace once again creates a strong female protagonist; this time noticeably similar to Ripley in the original Alien films. Theron and Idris Elba as the ship’s captain are charismatic in their smaller roles. While the stand out is Fassbender as the peaceful looking android with creepily ulterior motives. Fassbender creates the most fascinating character in modern sci-fi, depicting a strange, multi-functioning automaton with a curiosity for the existential questions his human ‘superiors’ ask. Several small touches, including his accurate impersonation of Peter O. Toole in Lawrence of Arabia, display a fascinating and in-depth depiction of a soulless being in search of a human connection.
“Big things have small beginnings.” (David (Michael Fassbender), Prometheus).
Charlize Theron & Idris Elba.
Despite this search for answers leading to a frustratingly ambiguous final third, each character’s motivations and theories delicately and assuredly create the themes of the film, culminating in a search for the reality of existence through hostile and tension filled terms. The film, for the most part, is emotionally powerful. You feel excited when Prometheus lands, while ultimately feeling a strange void in the pit of your stomach with knowing what comes next. Not really surprising to one who knows the brutal story behind the name ‘Prometheus’. Scott isn’t afraid to push the MA15+ rating. The beautiful yet bloody practical effects and creature designs match the violent intensity of the Alien series. The shockingly realistic and blood curdling penetrative deaths are part of the emotional core that will be longingly set in your mind. One scene in particular will have you questioning the practicality of Caesarean sections. The film’s visual appeal is also stunning. The holographic and touch screen applications of their operations and discoveries create several dimensions, using different pix-elated and CG creations to develop an appealing contrast with H. R. Giger’s influential and practical alien spaceship designs.
Does Prometheus live up to expectations? Yes and no. Yes, Scott’s streamlined direction delivers several wondrous set-pieces and visual flourishes. No, the big questions it so-eagerly asks in the first third aren’t given answers. Overall, we might have to show up next time for one ‘final’ adventure.
Verdict: An ambitious and glorious sci-fi actioner.