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)
Hey, it’s a trend! Besides, I promised Norman Wilner over Twitter to make a bazillion stupid lists for 2010 before they stop being cool. This was the dumbest, most shallow and most sexist idea I could come up with, second to ‘Greatest uses of the word ‘fuck’ and other curses in movies in 2010.’ Not that he’ll remember any of this. Anyway, all the women are listed by when the first time I saw them on-screen. All women also get the January Jones/Betty Draper Award nomination for the most violent female character in 2010. You decide the winner.
Lisbeth Salander (Noomi Rapace), for redefining vengeance and investigating those who hate women. May your shoes be filled well.
Jenny the Great White Buffalo (Lyndsy Fonseca) stabs Adam (John Cusack) with a plastic fork. That’s what he gets for telling a girl she’s fat.
Mal (Marion Cotilliard), who shoots and stabs you in your subconscious.
Knives Chau, the toughest Canadian. Don’t mess with us Asians, especially actress Ellen Wong with a breakthrough performance.
Beth MacIntyre (Winona Ryder) who, after being dethroned as the prima ballerina, stabs herself in the face screaming ‘I’m perfect!’ ‘I’m perfect!’ ‘I’m perfect!’
Rachel Singer (Jessica Chastain), a Mossad Agent sparring with her partners, trying to find the Surgeon of Birkenau (Jasper Christensen).
Abby, in this remake, with a soulful protrayal by young Chloe Moretz, still hungry for her daily subsistence.
Mattie Ross (Hailee Steinfeld), who will tell you that you’re employed by her and she will capture and kill Tom Chaney (Josh Brolin).
Charlene (Amy Adams), who will rip your hair out if you call her a skank. You’re crazy.
Bellatrix (Helena Bonham-Carter), who makes Hermione (Emma Watson) scream for her oblviated parents.
Now Sally, go play.
Mikael Blomkvist, a well meaning but scandal ridden journalist and Lisbeth Salander (Noomi Rapace) a young hacker with dyed black hair find themselves working on a forty year old cold case about the missing niece of an industrial magnate. Well, the journalist was there first until he realized the young girl was hacking into his laptop and decides to get her help. The missing girl’s other relatives, who ironically are the suspects of this familial crime and have Nazi pasts to boot, are a bit alarmed by this collaboration because the newspapers got a whiff of them and decides to call the girl “his whore.” Is their apprehension legitimate?
Well, they did sleep together.
It’s not as disappointing of a plot turn as it sounds. She comes on to him and it’s obvious that she’s looking for something more physical, but the movie doesn’t portray that clumsily. The shame that the Vangers try to attach to this relationship isn’t floating around it neither. They’re both cautious to fall in love and he thinks it a bit unfair that she’s so closed up and distant. It’s a bit one sided in that he looks at her with admiration and she has to muscle up to solve the case and save his life. But they’re taking their relationship one step at a time, and that seems very mature. The relationship feels unprofessional but not creepy, since she’s just as much as an adult as he is.
I’ll talk about Lisbeth the character and performance, that I was forewarned that Noomi Rapace looks nothing like the girl she plays made me concentrate on detaching the facade of ‘Lisbeth’ while watching the movie. That her face looks cheekbone-y and angular unlike the soft faces of most women in Hollywood. That she’s allowed to be an adult especially when meeting Henrik Vanger’s lawyer, and she exceeds expectations in this part. There’s just something about her mannerisms, her black clothing, her gait, the she smokes to escape tense situations. Everyone’s excited about Lisbeth because she’s not passive like many Hollywood female characters. But when I watch her I feel like I’m seeing another archetype instead of a full, nuanced character.
And I could have done away with one of the rape scenes. And done away with “fuck,” “evil motherfucker” and other ub-subtleties. And I’m not sure if people on probation in Sweden are that defenceless against their parole officers. And I don’t like the direction of the denouement of the movie. And I don’t like how the movie portrays certain sexual acts as punishment. And why is Clarice doing research while Crawford is with the killer? That’s not how it works although I respect the spin.
I also have issues with the trailer of the film, or at least the version that I’ve seen. It barely lets us in on any dialogue. Why hide the fact that the movie’s in Swedish?