One of the trappings of sci-fi is its fetishization of metal or uncanny surfaces. The characters of Alien and its sequels float around in spaceships. The buildings of Blade Runner almost disallows us to see the ground they’re built on. The rock formations in Aliens seem uncanny in the violent way that they seem to have been forged. However, the most majestic images within Prometheus, Ridley Scott’s prequel to Alien, are the planets where they’re set. And it’s in the same sort of beautiful treatment that makes Elizabeth Shaw (Noomi Rapace) curious as to how the Earth and its populations have come into existence. I was at first disappointed by Prometheus being an Alien prequel, but it does bring, to a certain extent, the promise that its title has. This molten creation mythology and the lofty, almost unachievable ambitions that come with telling a story that touches on such a large scope.
There are many areas of knowledge that I haven’t delved into that won’t let me answer or comment on the ramifications of life creation as depicted in this movie. So what interests me more is its characters and their diverse outlooks as we see in the crew of the titular Prometheus, a spaceship that’s leading a couple dozen crew members to a desert planet called LV-223. Elizabeth and her skinny hipster boyfriend Charlie Holloway (Logan Marshall-Green) are driven by curiosity and believe that the new planet has information about Earth and humanity’s conception. The mission director, Meredith Vickers (Charlize Theron) and her boss, the recently deceased Peter Weyland (Guy Pearce) just wants to set up a human colony in the new planet regardless of alien presence in that planet. And there’s a creepy android named David (Michael Fassbender) who, well, we’re not sure if he has deliberate intentions.
And those motivations transform as they discover new things on the planet, this voyage letting these characters face their gods and playing gods themselves in their many acts of creation and destruction. Theron, fresh from her acting hiatus, returns with unsympathetic roles in Mavis Gary in Young Adult and an evil queen in SWATH, and adds her rendition of Meredith Vickers to complete a hat trick. Here’s why. After learning that Charlie develops a mysterious illness, Meredith replies with the greatest line reading of ‘Sick of what?’ What a sociopath. Meredith is the third role in which Theron combines her beauty with narcissism. It’s a formula that I’m not sick of yet.
Rapace, however, seems to have been cast in the leading role because of two things. Being a buzzy actress coming off the Swedish version of the Millennium trilogy probably helped her land plum roles. And playing strong woman like Lisbeth Salander, she’s expected to add something to a role who is the predecessor to the equally iconic Ellen Ripley. But here’s the problem. The script, written by Damon Lindelof’s, puts Charlie’s sickness in the same chain of events as Elizabeth’s abortion, the latter of which seems to be the scene which the moviemakers think is Elizabeth’s key scene. Yes, she pulls that scene off. But my key scene isn’t that one but the one where she confronts one of the Engineers, and that’s where her lines fall flat.
As I said earlier, the script is very eventful and Scott’s direction makes me believe everything it puts forth i.e., Elizabeth’s abortion, Michael Fassbender’s animated severed head. And maybe that’s one of the things I didn’t like about this – its many plot points and contrivances taking away from the simplicity, the horror and the humanity of the other movies set in Alien’s universe.
- Prometheus Blu-Ray Review (Kirk Haviland) (entertainmentmaven.com)
This recreates my mental state three days before Valentine’s Day. It ain’t pretty.
A conversation I had with a critic – the same person with whom I was discussing Dragon Tattoo – eventually got us discussing Jason Reitman’s Young Adult. I agree with him, it’s a zombie walk where hack writer and man stealing slore Mavis Gary’s (Charlize Theron) converses with her high school co-alum Matt Freehauf (Patton Oswalt) as a way of Diablo Cody talking to herself like, pardon the comparison, Ingmar Bergman with hoodies and home brewed whiskey. It’s only energized by Mavis’ blood curdling speech at the end. A villain’s tirade before leaving an all-American environment – in this case it’s Mercury, Minnesota, a small town provenance she’s seemingly outgrown – and her departure typically resulting with the other good-natured characters hugging and keeping their relationships intact and so forth. That speech is one of the elements within the movie that riskily decides to side with Mavis despite her being an intentionally terrible person and I give brownie points for those things.
His criticism against Young Adult stems from how it tries to both mock and pander to opposite sides of whatever line the movie draws to divide Mavis from the other characters. There’s the use of “Kourtney and Kim Take New York” among many uses of pop culture to either make fun of lowbrow culture, the working class reassured that the middle class is more pathetically trashy. In short, condescending to both classes but mostly to the townies who don’t even know what ‘the TV’ is. Keep in mind that it’s screenwriter Diablo Cody doing the finger-pointing, funny enough because she has appeared on the E! Network as well as being engaged to someone who works there. Also keep in mind that I watch and secretly love “Kourtney and Kim Take New York.”
It’s like a rom-com making fun of Katherine Heigl like Friends with Benefits does. It’s equally hurtful when an intellectual like Woody Allen makes fun of us. But Young Adult shows my reflection pointing back, a flawed conceit that my reflection is an ugly mean girl AND Charlize Theron. The rich make fun of us whether they’re classy or trashy and I still feel ambivalent knowing that these masks of class, education and breeding are in place against others.
What he also finds smug is something that, despite deeming the movie passable, I also could never make peace with – she’s one of the unique cases who, despite being love struck, only chooses one target for her supposed goodwill if at all. Why is Dolce-clad Mavis still holding out for Buddy Slaide (Patrick Wilson), who has unkempt facial hair, wears thick plaid jackets without being ironic and works in a factory? Just because Patrick Wilson has cheated on his wife in many miniseries/movies doesn’t mean he’ll cheat on her for you this time, Mavis. I don’t even know if he has sex drive in this movie at all.
This perpetual high school reunion one-upmanship happens all the time. Someone created the Twitter handle @FriendFromHS for this purpose. Or like what I used to do during the first year I joined Facebook – I’m trying to forget that someone else might be doing the same to me – and laughed at how this guy got fat and so forth despite not being able to find my man who got away who by the way is straight. I should actually do that now because looking at him will make me feel good about myself, hoping he finally signed up.
Oh my God he got hotter.
And I don’t care if he’s the kind of guy who takes pictures of himself in his bathroom without closing the shower curtains, holding the camera in his hand in front of the mirror because he can’t figure out how to use the timer, accessorizes with cubic zirconium bling and befriends girls who spell ‘sexxxy’ or ‘chineese’ (He’s white. Aryan, even). His face is in the same immaculate state when we were both young, belonging to better clothes and a svelte body.
If he blocks me, I wanted to write the typical ‘I hope you’re not offended by the past’ thing. But I always had a speech prepared if I see him. That there have been others after him – ‘after’ despite him not reciprocating in any sense of the word. That I thought he was the one and that those others made me feel lost, that I didn’t know what love is when I fell out of my infatuation for him. But now that I can see him again that changes everything. I could have pressed enter and told him everything, making me seem crazy if I didn’t have a friend to stop me.
The artist is someone who insists on content, form and image – especially image’s importance – despite others perceiving it as unapproachable. Her present is everyone else’s past, she views it as nostalgia but others perceive it as stubbornness. She performs this past ad nauseam but never tires because of its comforting rituals. She’s a risk taker in her eyes but that doesn’t matter if the others see madness or chooses not to see her at all, their rejection making her lose everything. This creation or dedication is caused by love and some conceive love, giving into love and to another person, as containing destruction. Love forces a person to change for the other person, to create herself anew, making her lose her individuality. But love can also be an instinct against outside forces and this form of stasis could lead to the same destruction she’s been trying to avoid.
Sorry about that insanity, although I wanted to talk about that. It’s been a long time since Young Adult came out, but what I remember from its criticism is Mavis as an unsympathetic character or her place within the movie’s class boundaries. But what about her character’s mental state? Most movies about the insane are pretty self-centred, the other characters are either supporting her convalescence or driving her to madness. We see the other characters through Mavis’ warped prism, blocking them, their relevations of ‘I feel sorry for you’ seemingly tacked on and coming out of left-field. Are we not seeing her mental condition because she looks like she has her shit together or am I using her state as an excuse? Buddy’s wife gets a whiff of her condition and I don’t know if it sticks. And her presence within Mavis’ peripheral vision causes for new lines to drive up between them, making the movie problematic.
P.s. I still haven’t added him yet.