En suivant des indices sur l'origine de l'humanité, une équipe trouve une structure sur une lune lointaine, mais réalise rapidement qu'ils ne sont pas seuls.En suivant des indices sur l'origine de l'humanité, une équipe trouve une structure sur une lune lointaine, mais réalise rapidement qu'ils ne sont pas seuls.En suivant des indices sur l'origine de l'humanité, une équipe trouve une structure sur une lune lointaine, mais réalise rapidement qu'ils ne sont pas seuls.
- Réalisation
- Scénario
- Casting principal
- Nommé pour 1 Oscar
- 6 victoires et 47 nominations au total
Vladimir 'Furdo' Furdik
- Mercenary 2
- (as Vladimir Furdik)
C.C. Smiff
- Mercenary 3
- (as CC Smiff)
Avis à la une
This needed a second viewing, just to see if not being awestruck was my fault. Sir Ridley Scott's unintended (but obviously linked) prequel to his 1979 classic, 'Alien' is a hugely ambitious film; but is, in a word, meretricious.
The story is profoundly compelling, and is an example of why sci-fi can be the most noble of all genres. It's not afraid to ask the big questions – Where do we come from? What is our purpose? What happens when we die? – but cowers into the nearest black hole when it comes to answering them (or at least the last two of those). No film I have seen has handled analogous material better than Kubrick's '2001', and 'Prometheus' could have ensured similar stardom if it chose epiphany over escapist entertainment.
The year is 2093. Discovery of a recurring ancient cave painting has prompted a space expedition. A vessel called Prometheus carries a crew of 17 to a destination where it is believed the answers to human origin lie. Interweaving an alien story with the central plot is a major strength, a double-whammy concept. But the delivery is all devilry; pure Hollywood compromise.
Despite the voluptuous visuals, stunning production design and preference of manual over computer effects (including a memorable alien abortion sequence), what ruined it for me was the handling of this precious material. Perhaps it was inevitable. Between them, the two writers (Jon Spaihts and Damon Lindelof) have a limited repertoire which has space for the execrable 'Cowboys and Aliens' and equally distasteful 'The Darkest Hour'.
Discoveries are anti-climactic. When the crew discover something of importance, i.e. everything, they are remarkably insouciant. The effect on me was a mutual disinterest. All the elements for suspense are here: dark passages, inexplicable noises, prolonged moments of inactivity; yet there is a lack of the kind of suspense which gave Scott's 1979 film its reputation.
One saving grace is Michael Fassbender's David, the onboard android. He gives everyone an acting lesson; one that ship captain, Janek (Idris Elba) doesn't heed, choosing instead to remain impassive throughout. Guy Pearce (in heavy make-up) cameos as the CEO of the company funding the venture. He has only a few days of life left and presumes they will find a merciful rather than noxious God, and further presumes that he will be able to barter for an extension.
Other principal players are Doctors Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green), and expedition manager, Meredith Vickers (Charlize Theron), who raises her voice to remind everyone who's boss (an interesting discussion point, evoking Scott's 'Blade Runner', is whether she's another android).
Once Darwinism has been negated, the crew, particularly Shaw, desperately seek other answers. This is where I felt cheated. Yes, speculation is often more enticing than revelation, but this film is fuelled by its revelations. We're not given the answers, ostensibly to add mystery. But I feel that the script writers had no more to offer. David asks Shaw why she so badly wants to know more. Her response is risible: 'Maybe it's because I'm human and you're a robot'.
The conclusion is impetuous and insipid. It is not too distant in tone and style than – I'm serious – 'Armageddon'. The best bit of the film probably won't even be talked about. It's established that Prometheus has actually landed on an installation, where aliens were being manufactured by our 'Engineers' (Gods) to create WMD. Their intention was to use these weapons to destroy Earth, but the aliens escaped captivity and massacred them. What a concept! If you were going to compromise, which this film does, why not show that story? Maybe they will in another prequel.
www.moseleyb13.com
The story is profoundly compelling, and is an example of why sci-fi can be the most noble of all genres. It's not afraid to ask the big questions – Where do we come from? What is our purpose? What happens when we die? – but cowers into the nearest black hole when it comes to answering them (or at least the last two of those). No film I have seen has handled analogous material better than Kubrick's '2001', and 'Prometheus' could have ensured similar stardom if it chose epiphany over escapist entertainment.
The year is 2093. Discovery of a recurring ancient cave painting has prompted a space expedition. A vessel called Prometheus carries a crew of 17 to a destination where it is believed the answers to human origin lie. Interweaving an alien story with the central plot is a major strength, a double-whammy concept. But the delivery is all devilry; pure Hollywood compromise.
Despite the voluptuous visuals, stunning production design and preference of manual over computer effects (including a memorable alien abortion sequence), what ruined it for me was the handling of this precious material. Perhaps it was inevitable. Between them, the two writers (Jon Spaihts and Damon Lindelof) have a limited repertoire which has space for the execrable 'Cowboys and Aliens' and equally distasteful 'The Darkest Hour'.
Discoveries are anti-climactic. When the crew discover something of importance, i.e. everything, they are remarkably insouciant. The effect on me was a mutual disinterest. All the elements for suspense are here: dark passages, inexplicable noises, prolonged moments of inactivity; yet there is a lack of the kind of suspense which gave Scott's 1979 film its reputation.
One saving grace is Michael Fassbender's David, the onboard android. He gives everyone an acting lesson; one that ship captain, Janek (Idris Elba) doesn't heed, choosing instead to remain impassive throughout. Guy Pearce (in heavy make-up) cameos as the CEO of the company funding the venture. He has only a few days of life left and presumes they will find a merciful rather than noxious God, and further presumes that he will be able to barter for an extension.
Other principal players are Doctors Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green), and expedition manager, Meredith Vickers (Charlize Theron), who raises her voice to remind everyone who's boss (an interesting discussion point, evoking Scott's 'Blade Runner', is whether she's another android).
Once Darwinism has been negated, the crew, particularly Shaw, desperately seek other answers. This is where I felt cheated. Yes, speculation is often more enticing than revelation, but this film is fuelled by its revelations. We're not given the answers, ostensibly to add mystery. But I feel that the script writers had no more to offer. David asks Shaw why she so badly wants to know more. Her response is risible: 'Maybe it's because I'm human and you're a robot'.
The conclusion is impetuous and insipid. It is not too distant in tone and style than – I'm serious – 'Armageddon'. The best bit of the film probably won't even be talked about. It's established that Prometheus has actually landed on an installation, where aliens were being manufactured by our 'Engineers' (Gods) to create WMD. Their intention was to use these weapons to destroy Earth, but the aliens escaped captivity and massacred them. What a concept! If you were going to compromise, which this film does, why not show that story? Maybe they will in another prequel.
www.moseleyb13.com
Prometheus is an eminently rewatchable film that provides new layers of meaning with each repeat visit. How often does a master filmmaker get to revisit their original oeuvre and recreate an even bigger world around and about it? The myth of the engineers and their world changing experimentation is absolutely romantic, compelling and terrifying at the same time. It hurts even more to see how badly utilized this new mythos was in the follow up Covenant. The true mark of success that Ridley Scott achieved was igniting years of debate around the origin and nature of the engineers and their creations. Deep connections to established historical finds on earth make this origin story even more personal - the myth of alien astronauts, benevolent or cruel giants from the stars with incredible, magical technology - creators and destroyers of worlds.
Getting back to the film itself - such gorgeous cinematography and production values. I recently rewatched in 4k format and developed a greater appreciation for small clues hitherto unseen - for example navigation hologram destinations in a reactivated ship of mass destruction.
David is himself a conundrum and a polarizing figure. Was his programming to blame, or the algorithmic output of his treatment at the hand of cruel masters. The android is a central theme in the alien mythos, an expression of creation and self awareness.
The only criticism I have of Prometheus and the sequel Covenant is the proliferation of human stupidity. Predecessor films did not showcase human hubris and blundering to such a great extent - protagonists always took calculated risks. If anything the buffoonery of crews almost seems to justify their fate and reduces sympathy accordingly.
Ridley Scott may still have time to catapult his mythos to legendarium, if his subsequent sequels after Covenant retain purity of spirit with his expanded universe. I for one look forward to seeing more of this wondrous unravelling and exposition.
I think this serves as a pretty decent stand alone sci fi. I like quite a lot about this movie. The cast is good. Noomi Rapace in particular is very good.
I like the idea of the engineers, I like the idea of the black goo, I mostly like the idea that this all spawns the xenomorphs we know and love but I don't really understand why.
Not everything needs an origin story and I preferred Alien when we just thought they were out there somewhere. I don't think we needed an origin/backstory/genesis story.
Take out the final scenes which, if I'm honest, felt a little forced, and Prometheus would still have been a fairly decent sci fi.
And most notably, Prometheus does teach us not to run in a straight line.
I like the idea of the engineers, I like the idea of the black goo, I mostly like the idea that this all spawns the xenomorphs we know and love but I don't really understand why.
Not everything needs an origin story and I preferred Alien when we just thought they were out there somewhere. I don't think we needed an origin/backstory/genesis story.
Take out the final scenes which, if I'm honest, felt a little forced, and Prometheus would still have been a fairly decent sci fi.
And most notably, Prometheus does teach us not to run in a straight line.
I just rewatched Prometheus after watching previously the four Alien movies and I enjoyed more than the first time. The reason is because the extended version of 2 hours 31 minutes it's far better that the theatrical cut. More answers are shown and overall the movie script is better. So, if you want to give it a second chance to this, go for it. You won't regret.
Prometheus is one of the most underrated and misunderstood science fiction movies in recent memory. Do NOT view this as a prequel to Alien. It is part of the same universe, but while the first 4 are action/horror films, Prometheus is a sci-fi adventure that explores the origins of mankind. This concept is something I've always wanted to see put to screen, and Prometheus delivers so well that I'm enthralled by it no matter how many times I watch it. The cinematography and score are Oscar worthy, and the direction and visuals are near perfect. I believe Prometheus would be much higher rated if more people went into it with an open mind. The first Alien did have mixed reviews upon initial release, and now it is an all time classic. I really think that one day Prometheus will have the same status, and I hope the sequels are more appreciated.
All 'Alien' Movies Ranked by IMDb Rating
All 'Alien' Movies Ranked by IMDb Rating
See how the Alien franchise films rank, according to IMDb user ratings.
Le saviez-vous
- AnecdotesComposer Marc Streitenfeld had the orchestra play his compositions backwards, and then digitally reversed the compositions for the final film. This made the music sound unusual and unsettling, which he felt was right for the film.
- Gaffes(at around 23 mins) A CO2 concentration of 3% in the atmosphere is still not a lethal amount for human beings. Only after 5% does it become toxic. However, Ford actually states that the CO2 levels are *over* 3%, suggesting that was the minimum amount the preliminary sensors had detected.
- Crédits fousThere is a statement at the end of the closing credits: "Previous Footage Property of Weyland Corp. Building Better Worlds Since 10.11.12. weylandindustries.com/timeline"
- Versions alternativesThe film's 70mm and Digital IMAX 3D release was presented open-matte, at an aspect ratio of 1.90:1, meaning more information was in the frame for the entire film.
- ConnexionsEdited into Sensible Cinema: Prometheus (2016)
- Bandes originalesPrelude for Piano No. 15 in D Flat Major, Op. 28 No. 15
Written by Frédéric Chopin
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Détails
- Date de sortie
- Pays d’origine
- Sites officiels
- Langues
- Aussi connu sous le nom de
- Prometeo
- Lieux de tournage
- Dettifoss, Vatnajökull National Park, Islande(Opening scene at waterfall)
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 130 000 000 $US (estimé)
- Montant brut aux États-Unis et au Canada
- 126 477 084 $US
- Week-end de sortie aux États-Unis et au Canada
- 51 050 101 $US
- 10 juin 2012
- Montant brut mondial
- 403 354 469 $US
- Durée
- 2h 4min(124 min)
- Couleur
- Mixage
- Rapport de forme
- 2.39 : 1
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