Review- Prometheus

I spent a good amount of time getting caught up on my reviewing. There’s no logical explanation as to why I get back-logged save for procrastination, but having said that I knew that I needed to have Prometheus last. Now, just the fact that I felt the need to stew on the film a bit longer is proof that there is a bit more to it than other films that just flat-out didn’t work at all. So in that regard, I do have to give it a grudging amount of respect, however, that was already there by the implication of its plot and the trappings. It’s not the aims of Prometheus that are so bothersome, but rather how it goes about trying to achieve said aims and fails.

As soon as you get aboard the Prometheus, the eponymous ship, you’re introduced to a rather different aim than in Alien, this is not strictly a cargo ship but a mission with a loftier goal, seeking the alien race that theoretically populated the earth. Essentially, seeking what we’ve come to call God. This is intimated visually with an archeological site, but we as an audience discover this when Elizabeth Shaw’s (Noomi Rapace) memory is read. Granted this gives us some insight into both David (Michael Fassbender) and her but it’s an extremely clumsy way to introduce her theological views, especially when she’s not necessarily shy about sharing them with any and all who ask.

If a film wants to be a precursor to another film, inhabit its universe but not really have any drastic ties that bind it to the original film chronologically, I have no problem with that. I have been, on multiple occasions been surprised by a prequel or a remake, even when I saw the original product first, however, what confounds me about Prometheus is that it sets some pretty different aims in the beginning and then seems to spend much of the first and into the second act of the film doing a pale, sterilized impersonation of Alien, which makes you think maybe the God plot is a MacGuffin and you’re really going to get a rehash. It’s not the fact that it’s misdirection that bothers me, clearly films need to misdirect audiences for certain payoffs but it’s the amount of time dedicated to and the certain lack of follow-through and dispelling the other track that really gets to me.

There are more than a few rehashed tropes from the initial series of films that really don’t add that much drama or significance to this film. One of the most annoying ones is the character of David and his nature. This was a pretty huge reveal in the first film to both audience and characters involved, yet here it’s played blatantly and everyone knows. Well, why does an earlier crew know something a later crew doesn’t? Is it the nature of the manifest or something else?

I recognize that certain mysteries and certain tricks are harder to pull on multiple occasions, but it does sort of make you wonder why certain elements are even being reintroduced. If you’re wiping the slate clean, wipe it all the way clean. This way all the plot twists have impact. Instead, there are multiple sequences in this film that are just utterly hollow because I can already tell where a particular plot is going and there’s no real drama in its outcome. One of the more effective prequels in recent memory was Rise of the Planet of the Apes, simply because they rewound so far back in the narrative there was really no telling how you’d get from point A to B to C.

So there’s a major portion of the film that’s really just Alien Lite or Alien for Dummies, if you prefer but then there’s the part where something new is trying to be accomplished and the focus completely drifts away from it for rather significant stretches and when the film’s focus drifts what hope do we as an audience have or caring?

Is there more to this story than I’m giving credit for? Yes. However, part of the impetus for me (or almost anyone) to plunder the deeper depths of the film for meaning is a willingness to dig. What makes one willing to dig? Having something to latch onto in the first place, and there’s nothing that really gives you a handhold here. I’ve seen some commentary and read some reviews around that were rather interesting. Once cited Contact as a good double feature. The seeking some sort of greater meaning in the far reaches of the universe theme is there, but despite the surprise ending, the through-line of Contact is rather clear and never clouded. Many people disliked it for what it was or because of what they considered to be a deus ex machina in the story-line, but I’ve never seen anyone cite that it was confused about what it wanted to be. Relating back to the digging deeper comment I made above, A.O. Scott makes a fascinating comparison between the David of this film and the David in Artificial Intelligence: A.I., even as seemingly perplexed as I was walking out of that film for the first time there was something there I knew I liked it a lot, I just couldn’t put my finger on what. I’ve read some things and come to realize some things about Prometheus since I’ve seen it but none of it has illuminated it in my mind. It’s not a sense of revelation like I had after I walked out of The Turin Horse, it’s kind of like finding the occasional diamond in a pile of garbage; sure you have a diamond but you still feel dirty. The revelations do nothing because they’re not big enough and granted some films can get too grandiose, especially when failure is the more likely outcome but after a certain point there’s just an emotional flatline in this film that could’ve been at least jostled slightly by something pertaining to the purported point of this endeavor that could’ve helped.

Those are the more technical, narrative aspects. On the visceral front those shortcomings proved to make this my most boring moviegoing experience since Cowboys and Aliens. Note, I did not and will not say it’s that bad. This film does have a lot more going for it than that did, which I’ll get too but it’s by no stretch of the imagination enjoyable.

The film is unquestionably beautiful to look at, the effects work is pretty bullet-proof and while 3D isn’t amongst the very best I’ve seen it’s quite good and doesn’t distract or interfere with the experience at all. For more detail on the 3D from someone who appreciated that aspect a lot more than I did I refer you to CinemaBlend.

Most of the actors do what they can with the limited, usually one note characters they are given to work with. I wish Charlize Theron was given more range to work with, as her coldness in this does get a bit trite and it seems like she and Rapace are fighting over who gets to squeeze into the Weaver mold next. The slight power struggle is a bit enjoyable, but also a bit repetitive. However, some of the performances do fall a bit flat also namely Logan Marshall-Green, Sean Harris and Rafe Spall.

Sadly, Prometheus is an unmitigated mess. Some messy films can end up being lovely regardless of that fact, but this film never really has that chance. It’s pulled in different directions and slapped together with glue and scotch tape, as refined and brilliant as some of the images are, the construction and handling of the narrative is equally inelegant.

3/10

Review- Snow White and the Huntsman

Snow White and the Huntsman is such an odd case. Based on the way it handles the oft told legend it has a lot of promise, however, this film has a weird handling of its two titular characters inasmuch as it seems to run from them both. At the start, yes, it is the hunstman (Chris Hemsworth) who is doing the voice over for the necessary backstory segment that kicks the narrative off, but there are a few unfortunate things about it: first, this is one of the higher points of the film and it’s a brisk, but not rushed beginning portion. Second, after this part the Huntsman is lost for a while until the queen commissions him to retrieve an escaped Snow White. Which brings us to the young princess, her dialogue is sparse throughout, her involvement until her escape is minimal and she drifts into the background more than any would-be protagonist in recent memory.

Is it just sloppy plotting and writing or is the fact that the film wanted Kristen Stewart involved for box office appeal, but didn’t want to hitch their wagon to her alone? She has a moment here and a moment there, but the big military speech falls short of what it should be and her physicality issues persist. No actress on the face of the earth has a mouth so persistently agape for no discernible reason as she does and few emote so little facially, at least in the roles I’ve seen. I’m not going to avoid seeing something merely due to her presence, but I have yet to see this other side of her that her staunch supporters keep citing.

However, as I said, the film is rarely about either of its two named characters, at times this is a good thing and at other moments it’s a failing. Charlize Theron is broad in her role as the evil queen as if she just fell out of an old Hollywood melodrama. I think that’s something most of us can agree on. I, for one, absolutely love her performance and find nary a misstep in it. At the very least someone, is bringing energy and commitment to this film, and more often than not I found her scenes rather chilling.

Much of the conversation has been about the performances thus far because there is little else holding this precarious piece of work up. The pace of the film is decent up until about the midpoint when the dwarfs are introduced and then the film gets a bit unfocused, lost and extraneous. The narrative does pick up again eventually but never recovers from this unfortunate area. This section also introduces the odd production choice of having average size actors be the faces of the dwarfs. I’m really not sure why it’s deemed necessary, and it is a distraction.

The cinematography, scoring and production design of the film were all really quality components that could’ve truly elevated this film to its potential had the narrative it was supporting been up to snuff. The beginning of the tale works best because it’s in storybook mode and frames the queen as much more of a power-hungry madwoman than say, Disney did. The stepmother queen in either tale is motivated, it’s just that this film explains the motivation a bit more. Where it develops her plot and psychology it works, but little else is substantial here at all, which is not the case of the animated version, or even some others for that matter. Where it sets up Snow White’s initial struggle it works, but it loses her along the way, as it not only fills in blanks but colors outside the lines, so to speak, and adds running time and trivially valuable sub-plotting with the love triangle that evolves. The richness it builds is soon watered down by excess.

Snow White and the Huntsman
starts with a few clear objectives but then becomes occluded and can no longer see the forest for the trees and like many travelers in this imaginary world gets lost in a dark forest, and all hopes of its being a quality piece of work perish.

5/10