Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
In a movie that is nothing if not ambiguous it’s only fitting that the title is misleading: The “ex” is only a former friend/fling. At least something’s mildly amusing. It starts out straightforward enough with slacker Tom (Zach Braff) being fired from his job as a chef after a food fight with his boss (a blink-and-you’ll-miss-him Paul Rudd). But with his wife Sofia (Amanda Peet) about to give birth poverty just won’t do. So they move from Manhattan to more economical Ohio where Tom takes up his father-in-law (Charles Grodin) on a standing offer to work for him in a job that Tom expects to be a regular nine-to-fiver. But as Tom immediately discovers this is no normal desk job and these are not normal coworkers. He gets off to a rough start with his supervisor wheelchair-bound Chip (Jason Bateman) after eating his yogurt. Further complicating matters it turns out Chip had a crush on and one-night-stand with Sofia back in high school—even though he’s the “ex” the title refers to—and is apparently now jealous. So he makes Tom’s life miserable and some off-the-wall variation of the standard formula ensues: Everyone believes Chip over Tom Tom loses Sofia and her father loses his job. Now he has to win back his father-in-law’s job and his wife while proving to everyone that Chip isn’t the saint he appears to be. It’s a television junkie’s dream to have this trio of small-screen leads together on the big screen—well it’s really a nightmare. Come to think of it maybe plucking the bulk of the cast from TV series (Scrubs for Braff; Studio 60 on the Sunset Strip for Peet; Arrested Development for Bateman) isn’t the best way to pinch millions from the budget. When Braff does his silly-sensitive Scrubs shtick in the movie it’s as funny as it is on the show but it’s totally not right for his character which is when he switches to serious mode a la his recent Last Kiss. Yeah he’s as confused as we are. Peet is uncharacteristically a non-entity in the movie whereas she is usually more vocal in her movies even if in a supporting role. And Bateman comes close a few times to successfully replicating Michael Bluth’s sardonic wit but then he hangs a sharp turn and delivers an inane unfunny line or physical outburst. The constant flux of bad-to-horrific acting can be as difficult to articulate as it is to comprehend. On the other hand veteran actor Grodin’s performance is very easily explained: It’s not only bad it’s irritating to the ear! And the miscasts go on with Mia Farrow an acting legend in a bit part as Grodin’s wife and near cameos from Donal Logue (Grounded for Life) SNL-ers Amy Poehler and Fred Armisen and Amy Adams (Junebug). Let’s revisit that title for a moment. As if the current misnomer wasn’t enough The Ex was formerly called Fast Track. Coincidentally once the movie was pushed back several times—which makes you think how bad this one must’ve been without whatever 11th-hour edits and reshoots were made—the title was changed perhaps in an attempt to dissuade a review from mentioning the irony in the title. But the Weinstein brothers should’ve known long before the title conundrum that this one was doomed. The script from first-timers Michael Handelman and David Guion must have undergone major overhauls as well because no script as bad as The Ex’s would have ever been greenlit. In fact it was probably originally something akin to a Cable Guy/Meet the Parents/Flirting with Disaster/Farrelly brothers hybrid but director Jesse Peretz’s movie is nowhere near those. The tone is just so unclear that it makes the actors look like they don’t even know their places—and yet it’s so damn transparent. And when the director is kind enough to carve out what is supposed to be a comedic scene it's Zach Braff taking a tumble on his bike or that good old wheelchair humor. Usually when a movie is called a “dramedy” there is drama and comedy; thus The Ex starts a new genre: “The attempted dramedy.”