Prometheus Review

Back in 1979 a film hit the screens which would change the way people thought about science-fiction and horror. Ridley Scott's 'Alien' became a hit and screenings were characterized by screams and puke. The combination of horrific, often subliminally sexual, imagery and the gritty portrayal of interstellar travel struck a nerve with audiences worldwide. People had been exposed to the optimistic view of space through 'Star Wars' and 'Star Trek', now they came to know it as a dark and unforgiving terrain filled with danger.

It is only natural that Scott's announcement to return to the 'Alien' series was greeted with some apprehension. Could the aging director reclaim his brand of existential horror? Would a prequel spoil the mysteries of the original movie? But perhaps most importantly, could Ridley Scott make us puke again?

Well, when I walked out of the cinema after having seen 'Prometheus' I came across a fresh splash of stinking barf. To any horror fan this speaks for, not against, the film. It's a quiet testimony to the unsettling nature of at least one scene in 'Prometheus'. Scott has done what he promised to do. He has delivered a beatiful looking film which is at the same time 'Alien' and not 'Alien'. The DNA's definitely there but this story in particular has bigger things on its mind. 

'Prometheus' sticks to the concepts established in every other 'Alien' film. The universe is a cold, dark place without any regard for human existence. This Lovecraftian vision is even more pronounced in this story. Often I was reminded of the classic short novel 'At the Mountains of Madness', which also features an ''aliens are our Gods'' scenario.

As a prequel 'Prometheus' works quite well. The story did evolve from Ridley Scott's attempt at revealing the origin of the iconic alien creatures. However during development Scott and writer Damon Lindelof uncoverd a story of grander scale. What if our origins are linked with that of the aliens?

However, to me the film works better as a seperate entity. The quest for our creator is a staple in literary science-fiction but we rarely come across it in the cinema. The best example is Stanley Kubrick's '2001: A Space Odyssey'. 'Prometheus' isn't able to reach that level of profundity but it would be an unrealistic expectation anyway. In actuality, it is an admirably well-executed entry in the exceedingly rare genre of intelligent sci-fi.

You need a solid cast to make an outlandish story like this believable. As always Scott does a great job at choosing the best actors for any given role. He also has a flair for creating strong female protaganists, in this case he even finds room for a female antagonist played by Charlize Theron. In the lead is Noomi Rapace, who has to deal with abuse the likes of which would make any grown man cry like a baby. The portrayal of all the supporting characters isn't as clear-cut as I would've liked but it is serviceable.

The best performance belongs to Michael Fassbender. His character is the robot David, who seems to be the only one capable of understanding that the power of creation isn't all that special. When he asks a human why they created him he receives a brutal answer: ''Because we could.'' What makes man think his creator would have any other motivation?

These are the kind of questions 'Prometheus' asks. It is unfortunate that the film isn't able to handle all of these questions in a satisfying way. It seems too caught up in scaring us with gore to mind the bigger existential horror which lies at the heart of the story. 'Prometheus' flirts with these concepts on more than one occasion, but shies away from completely exploring them. However, the 'Wizard of Oz'-like reveal of the creators is surprisingly effective. Behind all the smoke and mirrors there is just another imperfect 'human'.

That said, I expected the film to end up connecting all the dots to the original 'Alien'. It didn't, there are a few loose threads left. It felt like Scott wasn't ready to give this story up yet and therefore created an opening for future movies in this universe. You won't hear any complaints from me. When this director is fully immersed in the stories he's telling he can do great things. And I'll asure you, 'Prometheus' is a great flick. Don't take my word for it, trust the puke.

Dark Shadows Review

Tim Burton and Johnny Depp have a long history together. They struck gold over twenty years ago with 'Edward Scissorhands' and never really left each other's side from then on. The collaboration has given us some neat little films. Burton's weird sensibilities seem to be a perfect inspiration for Depp's unique persona. However, in the last few years they seem to have lost their edge, with 'Alice in Wonderland' marking a definite low.

'Dark Shadows' fares a little better. It's a far cry from their best works: 'Edward Scissorhands', 'Ed Wood' and 'Sleepy Hollow', but it is a very enjoyable film aside from some storytelling problems. Based upon a soap opera from the late sixties, 'Dark Shadows' revolves around a Nosferatu-like vampire named Barnabas Collins. After being locked up in a coffin for 200 years by a vengeful witch he seeks to reclaim his family's former fortune and respect. 

By the time he returns it is 1972, and the Collins family, along with their gloomy-looking castle, has fallen into disrepair. When he arrives he is greeted by a bunch of eccentrics, a collection of troubled indivuals who are remarkably at home in a Tim Burton film. The cast is pitch-perfect, with Michelle Pfeiffer delivering a sympathetic and eye-catching performance as the family's matriarch Elizabeth. 

Despite struggling to fit in with the times and killing a few people to satiate his lust for blood, Barnabas succeeds in revamping the family's fishing business. All is well, until he discovers that the rival company is led by Angelique; the immortal witch who turned him into a vampire because he turned her down. The interaction between Eva Green's witch and Depp's Barnabas are some of the most ejoyable bits from the film.

Unfortunately, 'Dark Shadows' is a bit too heavy on Depp. The film would've profited from a fairer balance between him and the other family members. Barnabas is an interesting character, but not interesting enough to be the focus of the entire film. It got so bad that in some of his scenes I was wondering what the other characters were doing.

The irksome lack of information on any of the other Collinses comes back to bite the movie in its ass during the third act. Here, elements are introduced which feel like they've been added at the last possible second. The children, played by Chloë Moretz and Gulliver McGrath, have powers which, if revealed earlier, would've made for a far more interesting story. Now, this leads to a deus ex machina if there ever was one. 

What is fun about this movie is it's depiction of 1972. It's not a realistic depiction by any degree but rather a tonic of all popular culture from the early seventies. The film is soaked in images and sounds which we inherently connect with this time period. And, typically for Burton, the retro-style clashes quite bizarrely, and often comically, with the gothic nature of Barnabas. It's a nice trick and it works well. 

Unfortunately, 'Dark Shadows' is not a return to form for Depp or Burton. The two seem more in love with each other than with the story they're trying to tell. The originality of Depp's weird characters is wearing thin but Burton regains some of his former flair by setting this film in the 'real' world. The only collaborator who excels is Danny Elfman, who creates a driving and memorable musical score which manages not be drowned out by the songs of the period. 

So if you're in for some typical Tim Burton weirdness, I can recommend this movie. However if you're allergic for the inherent quirkiness of his work you should pass on this one. For me the bizarre comedy sprinkled with some light horror worked quite well. Though, it's a shame Burton didn't dare to let the film breathe.