Ridley Scott stirred many science-fiction fans into the tongue-wagging mindset, waiting happily for the arrival of the next Blade Runner. Prometheus is not of the same order, but does blend incredible digital effects with strong performances. The plot, though, doesn’t run away from the same outline of the Alien films: Quiet, intelligent woman goes with a crew of rowdy boys hired by a corporation whose motivations are unknown, and slowly and somewhat suspensefuly are killed down to that last woman. In Prometheus, based on the characters behavior, you wont have to second-guess who is going to drop dead next. But, hey, maybe some fans take comfort in familiarity; or even worse, the filmmakers do!

Regardless of the screenplay letting us down, the action and pace is still there, along with the crowd-pleasing android played by Michael Fassbender. David, such a normal name for such a sophisticated machine, can see the memories of the people he guards while they lay in stasis; he loves movies, and quotes them often. He is a truly enticing character to watch on the screen, and even more so after some very eerie plot turns. The relationship between Elizabeth and Charlie seems a little unnatural; Elizabeth is a quiet woman with a despairing history, and Charlie is a shameless promoter of his own interests, drinking on the ship at will. However, the relationship’s dimensions may be explained by Elizabeth’s inability to birth: This is the couples last chance at mutual happiness.

The film accomplishes its frightening tone with a slow, evolving pace: yet, at several points in the film, I asked myself whether or not the person being killed right now was even introduced? The ship started with seventeen passengers, and it ended with one: Did it really feel like sixteen went down? These sort of elementary notions that are bypassed does not resemble the quality Ridley Scott has produced. The formula for horror, even sci-fi horror, is becoming far to transparent: Why couldn’t he have flipped it upside down, and had the people who were left in the cave at the start, (who obviously are killed), be the ones who outlive it all? The cinema has a language for form and design, but  genre-language does not win any more points, as Tarantino and many other genre-bending directors have shown.

The performances are very well done, and the crafting of each scene, in the sense of composition, is done by Scott’s signature confidence. Prometheus is a movie for science-fiction fans who aren’t perturbed by lack of thought, just awing at spectacle.

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