Whether you love Prometheus, hate it, or just find the whole thing frustrating, it’s a week later and Ridley Scott‘s film is still one of the hottest topics in the movie world. We learned this week that the film is going to be augmented by 20 to 30 minutes of deleted scenes when it hits DVD and Blu-ray later this year, with some of those scenes available only as standalone deleted options, and others viewable through a branching extended cut.
While we’ll have to wait a while to see much of that footage, we do now have a bunch of great photos taken on set of the prosthetics, makeup and costume worn by Daniel James and Ian Whyte, as two of the film’s Engineers, and of Matthew Rook as the Elder Engineer. That last character didn’t make the final cut, however, and in fact these photos suggest that there’s more to the ‘sacrifice’ opening of the film than ended up in the release version. Check out the pics below. Read More »
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I think everyone who sees Prometheus will agree that the film is beautifully made, from the perspective of how Ridley Scott and his crew created the film’s environments and settings. Visually, Prometheus is often stunning, and that design is complemented by an expertly-crafted sonic palette.
The latest episode of the SoundWorks Collection’s “The Sound of…” series focuses on Prometheus. Through clips and interviews with the sound crew, we gain some insight into how the sounds of the film were generated. Check out the featurette below. Read More »
Red Letter Media, best known for their brilliant and funny dissections of George Lucas’ Star Wars prequels, has just posted a hilarious video talking about Ridley Scott‘s Prometheus. Since they don’t have the movie itself to draw clips from, the video is just one guy frying his friends brain with four straight minutes of unanswered questions and plot holes from the film. Some are easily answered, others are not, but they’re all really humorous. Check out the video below. Read More »
Prometheus is going to be a controversial film. As a prequel to Alien, and a “summer” movie, it has a certain suspense / horror / sci-fi pedigree that generally belies serious conversation. There’s no particular reason Prometheus should have “big” themes running through it, any more than Battleship or MIB 3 would, except for the salient fact that we believe director Ridley Scott has embedded some interesting nuggets throughout, much as he did with Blade Runner.
So what are these “big” ideas? What are the questions and themes Prometheus tackles throughout its two-hour running time? We’ll start with the easy ones, and then progress toward the more philosophical questions.
Note: Massive thematic SPOILERS follow, naturally. Read More »
Last week in London I had the opportunity to sit at a table with other journalists and interview Prometheus star Charlize Theron.
Charlize talks the evolution of the script from when she first read it to shoot, the secrecy of the production, the brilliance of working on practical sets vs. cg, the extent that Ridley Scott went to make everything feel real, gives a little bit of insight into the backstory of her character, being frightened by the unknown, deciding not to rewatch the Alien films before shooting, having fun with Fassbender in between takes on set, theories about her character, the delivery of dialogue, preparing for Mad Max: Fury Road, making big movies vs. making smaller movies, producing tv projects with Ridley Scott and David Fincher, the attraction to do tv over films, her obsession with HBO and Game of Thrones, finding time to take a vacation, and much more.
Read the entire interview after the jump. It contains only very minor spoilers (I have made any mild spoilers invisible, you need to highlight to reveal).
Read More »
Usually when a film opens, its viral campaign is over. Not the case with Prometheus. Ridley Scott‘s latest film is one that encourages a lot of conversation (obviously) and, if you stay to the end of the credits, the conversation continues online. There a website called What Is 10-11-12? is revealed which features a video of Peter Weyland (Guy Pearce) preparing for his TED talk as well as an image of the book Thus Spake Zarathustra by Friedrich Nietzsche. What does it all mean? We’ll try to point you in the right direction after the jump. Read More »
This week, Dave, Devindra, and Adam offer some faint praise for Snow White and the Huntsman, discuss the pleasures of getting into Dr. Who, reflect on the Blu-Rays for Alien and Breaking Bad, and try to make sense of Ridley Scott’s Prometheus.
You can always e-mail us at slashfilmcast(AT)gmail(DOT)com, or call and leave a voicemail at 781-583-1993. We’ll be reviewing Moonrise Kingdom next week.
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The reviews thus far:
This review contains mild spoilers. Major spoilers have been saved for the end, and cannot be seen unless highlighted.
There just has to be something meaningful under the surface. Right?
When the spectacle is this detailed and carefully composed, and the mythology this intriguing, and the caliber of the cast this impressive, how disappointing would it be to find out that Prometheus indulges mindless escapism no more rewarding than that of a Michael Bay film?
If only. I could forgive “disappointing”, so long as the mindless escapism on offer were willing to commit to the part (see: Aliens). But there’s a key difference between a silly sci-fi affair like Prometheus and that of the Transformers variety: Michael Bay knows exactly what he wants his films to be, and doesn’t insult viewers by pretending that they’re anything more. He doesn’t allude to a higher purpose when presenting his particular brand of sensory assault, and then refuse to pull back the curtain when it comes time to reveal what that higher purpose is.
Prometheus may seem like more sophisticated fare, with a promise of greater significance deeply entrenched in the oft-mentioned subject matter (i.e., uncovering the origin of human life), but the movie utterly fails at tying its ideas and its monstrous happenings together. Despite feigning interest in probing life’s most pertinent mysteries, the film has nothing to say. It asks — literally asks, aloud — weighty questions without any interest in exploring the answers. The film expects you to do the heavy lifting, as though it should be rewarded for even daring to ask the questions to begin with. What is the meaning of life? Where do we come from? Why do we believe what we believe? What makes us human? What drives us to find the answers to these questions? Read More »
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