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.
Yet another in a LONG line of teenage sex comedies this one manages somehow to be fresh and appealing -- despite the formu-lay-ic premise. That’s right another horny 18 year-old boy (Josh Zuckerman) is determined to lose his virginity any way he can. Ian can’t seem to become a “man ” upstaged by a Lothario of an older brother Rex (James Marsden) and his even more successful 14 year-old younger brother. He is constantly humiliated by the giant donut costume he wears for his job at the mall and can’t even get to first base with Felicia (Amanda Crew) a girl who thinks of him only as her best friend and nothing more. With the pressure of going to college as a sexual outcast what’s a hot-to-trot young dude to do? In this case -- using encouragement from pal Lance (Clark Duke) and with Felicia along for the ride -- the threesome take off in the unsuspecting Rex’s prized Pontiac GTO for a cross-country drive Ian thinks will end with the payoff of sex with a hot blonde named Ms. Tasty (Katrina Bowden) he met on the Internet. Unfortunately the one-day outing turns into a three-day nightmare for the trio with brother Rex on their trail and friend Lance getting a little too cocksure for his own good. Oh and did we forget to mention the Amish farm they manage to work into the tour? In the obligatory Jason Biggs role Josh Zuckerman is totally winning as a sex-starved high school graduate looking desperately to tame his out-of-control libido. With sharp comic timing and no end to the ways he is willing to humiliate himself for the sake of his art Zuckerman should have a bright future. Although the casting of his friend Lance played by the pudgy Duke would seem to be an attempt to emulate the Michael Cera/Jonah Hill teaming of Superbad Duke’s go-for-the-big laughs approach feels like we are seeing this kind of goosed-up sex maniac act for the first time. As the female “best friend” Felicia Amanda Crew is very appealing and thankfully grounded in reality. Marsden is hilarious as dopey Rex who prizes his vintage GTO and his own sexual prowess even more than the love of little bro. Seth Green has some funny bits as the sarcastic Amish man who somehow seems to know how to fix hot rods. Bowden is gorgeous and devious as the Internet hottie who may not be all Ian hoped for. Special mention also to Charlie McDermott and Mark Young who as a recurring kind of geek chorus playing two inept high school girl magnets. NOT. Director and co-screenwriter (with John Morris) Sean Anders manages to infuse what could have been a stale leftover piece of American Pie with new life and that’s largely thanks to some very funny VERY raunchy situations he dreams up for these likeable and recognizable characters. The premise of a so-called Sex Drive also offers ripe opportunities in this genre and Anders gets a lot of play out of it particularly from Duke whose uninhibited acting grabs most of the big laughs. Although they crank the gross factor way up the film doesn’t lose sight that it’s mostly a coming-of-age comic look at a rite of passage most young guys -- and girls -- will identify with. Although much is predictable Sex Drive has a strong sense of what it wants to be and in the end even turns sweetly romantic something most films of this stripe rarely do.
David Callaway (Robert De Niro) is having a tough time dealing with the apparent suicide of his wife (Amy Irving). His young daughter Emily (Dakota Fanning) also has taken her mother's death very hard retreating into her own little world. As a psychologist David decides the only way to help Emily is to move from the big city to a house in the country. Sure that kind of thing usually works like a charm. Emily does perk up a bit when she finds a new "friend " Charlie who likes to have fun and play hide and seek with her. Of course we can't actually see this new friend but that's beside the point. The imaginary Charlie is still a powerful force in Emily's life instructing her not to talk about him much and hating pretty much everyone else in her life including her dad. In short order bad things start happening--yes the family pet gets whacked--which Emily blames on Charlie. This leaves David wondering how his little girl could have turned so psychotic. But wait. Maybe Charlie isn't imaginary after all but actually a flesh-and-blood malevolent presence. Oh god do you think so?
Why you may ask would an acting icon like Robert De Niro star of such classic movies as Raging Bull and Goodfellas choose such a cheesy film as Hide and Seek? Very good question. Maybe he was drawn into the project based on the premise like the rest of us without realizing how derivative the story would get as things progressed. Of course De Niro plays the confused father--dealing with what could possibly be a demonic child--with a fair amount of finesse. But he's a pro that's what he does. Fanning (I Am Sam) too does the best she can as the sunken-eyed pasty-faced Emily. She sulks around rarely smiles and draws scary pictures of people dying horrible deaths which has now become a prerequisite for any child in a scary movie. In the supporting roles Elisabeth Shue Famke Janssen and Dylan Baker are all pretty much wasted. Shue who hasn't acted in anything major since 2000's Hollow Man makes a brief appearance as a potential paramour for David. Janssen (X-Men) playing David's colleague and Emily's confidante thinks living in isolation is a bad idea (and she's right!). Veteran character actor Baker (Kinsey) takes on the predictable role of the hapless town sheriff who never quite gets he's about to be in a world of hurt.
It is always disappointing when the promise of something potentially creepy turns out to possess the same old tired plot points and scare tactics seen countless times before. Director John Polson--best known for helming Swimfan another predictable stalker-gone-mad thriller--and novice screenwriter Ari Schlossberg don't have the necessary skills to take Hide and Seek above and beyond its conventional trappings. To its small credit the film does build a bit of tension in the beginning as David and Emily skirt around each other trying to grasp onto some kind of normalcy. Then when Emily introduces Charlie you continue to hold out hope that somehow the filmmakers will channel some of M. Night Shyamalan's aura and start really scaring the bejesus out of you. But alas it isn't meant to be. Instead you're sitting there pretty much guessing every move the film is going to make before it happens. When the twist finally comes around--you knew there was a twist right?--it doesn't really surprise you whether you've guess it or not.