Arnold Schwarzenegger's son Patrick has turned businessman and opened his own pizza restaurant in Los Angeles. The 20-year-old college student, whose mother is newswoman Maria Shriver, undertook the project without any help from his famous parents and on Wednesday (30Apr14), he opened the doors to his Blaze Pizza Restaurant location at The Grove outdoor shopping mall.
He tells People.com, "It's been my responsibility to oversee everything. I'm the owner, founder, pizza maker, pizza lover and anything else you want to throw on in there."
Patrick explains he learned his business acumen from his bodybuilder-turned-actor father and wanted to use it to open a restaurant where everyone could "come have a pizza, get a drink and pay with a 10 dollar bill".
He continues, "My dad would have me go and run his charity booth at his body building contest in Columbus, Ohio when I was eight years old. I would sell a poster for $50 and learn, 'How much did that cost?' and, 'What's the wholesale, what's the retail...?' I've always been into (an) entrepreneurial lifestyle. (My dad) encouraged me and so does the rest of my family with everything I do."
Shriver was on hand for the grand opening, but Schwarzenegger was unable to attend.
A semi-professional Colin Farrell impersonator has become embroiled in a bar tab row after a venue's staff mistook him for the actor. James Martin was offered VIP treatment at the Upper West club in Chelsea, London by employees who apparently believed he was the Phone Booth star.
Once it emerged Martin was not the Irish actor an argument ensued, with staff demanding he pay off an alleged $4,800 (£3,000) bar bill.
Upper West owner Alex Nall-Cain tells Britain's Mail on Sunday, "All hell let loose when we realised Colin was in fact a lookalike. This imposter took advantage and ran up a bill of over £3,000... it was disgusting behaviour."
Martin insists he did not drink while at the club and was unaware he had been mistaken for the Hollywood star.
He says, "The only victim was me for going there and looking a bit like Colin."
There are rumors that Keanu Reeves and Alex Winter may be reprising the roles that helped catapult one of them into stardom (hint, it's not Winter). Yep, they're considering doing Bill & Ted's Excellent Adventure 3. My only question is.. why? It would probably turn out to be a totally bogus movie. Oh yeah, that's right, people don't talk like that nowadays.
Reeves doesn't have anything to worry about by doing this - he's already financially set for life from the money from the Matrix movies and he probably still gets Speed residuals today. Winter, on the other hand, would probably be happy with getting some acting dough today. Still...why?
Time has moved on. It would likely be 2015 at the earliest when it could hit the theaters and the things that made the first two movies so much fun have become antiquated. Seriously, how many kids in 2015 would know what a telephone booth is? Sure, they could look it up on their smart phones, but that also kind of detracts from the experience. Having Bill and Ted go through time using a cell phone wouldn't be the same - those cheesy special effects were part of what made it fun.
Also, writing a story with them being older is going from their lives being really pathetic to being ultra pathetic, especially if their characters try to retain the same teenage goofiness. Seeing men in their 40s try to do air guitar riffs would be just a very, very, very sad sight. Reeves also probably couldn't pull off Ted's surfer hairstyle today.
A huge hit against this too: George Carlin, the man who played Rufus, is dead. He played a HUGE part in bringing the charm to the two previous Bill & Teds and trying to replace him with someone else would be a big, big risk that could blow up in their faces.
I think we should be fine about not seeing Wyld Stallions in another concert. But we should continue to try to always be excellent to each other, dudes.
More:Leo DiCaprio For President!Ah-nuld As The "Avatar 2' Villain: Does James Cameron Secretly Hate Him?Breaking Bad Spin-offs We Want To See
From Our Partners:40 Most Revealing See-Through Red Carpet Looks (Vh1)15 Stars Share Secrets of their Sex Lives (Celebuzz)
You're all right, Timberlake. Sure, I might have scorned you back during your breakout years, when my sixth grade crush would divert her attentions to magazine clippings of your ramen tresses. But the JT of late has amounted to much more than his boy band roots might have suggested: he's a bona fide artist.
Justin Timberlake's newest accomplishment comes in the form of a music video for his 20/20 Experience track "Mirrors," a song meant to pay tribute to the 63-year marriage of Timberlake's grandparents Sadie and William Bomar — the latter of whom passed away in 2012 — as well as his new wife, Jessica Biel.
Video and film director Floria Sigismondi, who helmed the biographical drama The Runaways, visits Timberlake's story via a variety of vantage points. The "Mirrors" music video, which you can watch below, chauffeurs the viewer through straightforward depictions of the meeting and lasting relationship of Sadie and William, time jumps juxtaposing the young and old versions of the couple, and a slew of perplexing images pinpointing their shared emotional experiences.
RELATED: Justin Timberlake Says '20/20' Part II Is Happening
And although the emotion is palpable, you're bound to be left wondering what a good deal of the video means. A few choice scenes stick out in our heads, with questions ringing loudly:
Here, we see an elderly Sadie (or, the video's adaptation of Sadie) folding and packing the articles of a man's suit as William stands and moves parallel to her. Is he literally with her at this point, or has he already passed on and the man here only represents the essence of a husband who will stay with his wife long past his earthly life?
A bit easier to apprehend is the initial union of Sadie and William — an archetypal 1950s scene, with pool being shot, jukeboxes being leaned upon, hairstyles being maintained apparently without the use of any reflective glass.
Shortly after we find ourselves appreciating the connection between the Sadie and William surrogates, we're treated to the consummation of their relationship... but beyond that, we're treated to the above shot of Sadie clutching her shirtless stomach. On a bed, no less, right next to her sprawled out mate. That's cinematic shorthand for pregnancy...
RELATED: Justin Timberlake and Jimmy Fallon's Summer Camp Sing-Along
So why, then, are we never introduced to a baby? We're not here to make any suggestions about the actual hurdles that the real Sadie and William faced — we can expect that Timberlake and Sigismondi took some creative liberties with the story for the video. In a follow-up shot the vivid sorrow is piercing and our minds jump to the worst: Miscarriage. Infertility. The sort of nightmares that this concrete couple wages together. And when the realism of this hardship translates to the near fantastical notion that these two people can, will, and are meant to be together forever, we enter the dream sequence...
And here's where a few more brows are likely to spring up a few degrees. The video's heroes enter a carnival world, traversing through the domains of fun house mirrors, circus-strong men, and the masquerade creatures we see above. You might have to dive deep into your Freudian theory to extrapolate exactly what "Mirrors" is representing here — the pair holding fast against a world of distant strangers? The power of their love launching their relationship to otherworldly levels ? Did they just go to a bunch of carnivals together?
Probably the most visually resounding shot in the entire video is the above: a gypsy-type's bestowal of a slide of photo booth photographs, which she pulled from inside her mouth, of the old Sadie and William unto the young Sadie and William. Again, go nuts with your theories, here; is this fate telling the pair that they will, in fact, stay together through the decades to come? Is this Timberlake and Sigismondi's means of showcasing the passage of time for the adherent couple?
Back to a more straightforward image: the wedding dress, though hardly delivered in a straightforward way. There is something terribly haunting about the video's choice to make its Sadie a mannequin upon the first mention of the pair's wedding. Is the union robbing something from her — her humanity, her independence? Or is this simply a probing method of introducing the next chapter of the narrative?
RELATED: Justin Timberlake Propels 'SNL' to Record Ratings
Two-thirds into the video, we meet Timberlake. A clutch of his grandparents' dropped wedding ring (symbolizing, almost certainly, William's death), his subsequent dance through the fun house hall, and a final shot of him glaring into the eyes of a mirror that wavers between his reflection and the image of a translucent circus performer with a moreover obscured face.
The second half of the video, the conclusive scenes especially, leave us with a lot of contextual questions. But pervading through our bewilderment is an emotionally piercing love story, delivered by an artist with more of an appreciation for the human heart than we might give him credit for.
Follow Michael Arbeiter on Twitter @MichaelArbeiter
[Photo Credit: RCA Records(8)]
You Might Also Like:15 Oscar-Winning Nude ScenesYoung Jack Black Is Totally Unrecognizable
Sorry, everyone, but Tuesday night the only thing you will be allowed to watch on television is the results of the presidential election as they slowly roll in from across this great nation of ours. Yes, that means field reporting, concession speeches, red and blue states on a big old poster behind the anchor desk, and pundits turning red in their faces when the races don't go their way.
Even if you can't tell the difference between Barack Obama and Mitt Romney and a donkey and an elephant fighting over pizza and burritos, you're going to have to watch something. But what? Here are all your major choices, broken down by what to expect and what is the best for you. If you're going to be stuck with journalists, you might as well find some that you like.
Talent: Diane Sawyer, George (copy, paste) Stephanopoulos, Barbara Walters, and Katie Couric
Pros: Sawyer and Stephanopoulos have both actually worked in the White House, so that is some real K Street cred right there. With Walters and Kouric they'll have a nice balance of hard and soft news. Also, they have a lot of female reporters. It's almost as if they had a binder, and it was full of women, and that's who they put on the show.
Cons: Walters and Kouric have devolved into daytime chatterers. They might not be able to deliver the gravitas an occasion like this merits. And seriously, can't we just put Barbara Walters on Social Security already and make her give up a place at the anchor desk? Oh, wait, not if Mitt Romney wins and there is no more Social Security. Never mind.
Watch This If...: You think The View is hard-hitting journalism.
Talent: Scott Pelley, Bob Schieffer, Norah O'Donnell, John Dickerson
Pros: Bob Schieffer moderated one of the debates, so he might have some insights. The network will be using virtual reality models to display the election results. I don't know what that means, but "virtual reality" always sounds like the future.
Cons: What is a Scott Pelley? Who are these people?
Watch This If...: You are old and can't find NCIS.
Talent: Brian Williams, Tom Brokaw, David Gregory, Savannah Guthrie, Andrea Mitchell, Tamron Hall
Pros: Everyone will be reporting from a place called Democracy Plaza, which sounds like what the inside of a voting booth should be like. Either that or a politics-themed restaurant in Times Square. There will be a lot of really deep voices, so your dog won't be able to hear a thing. It's also the only major network to bring back a returning anchor, so thanks, Brokaw. Oh, and have you seen Brian Williams on 30 Rock? He brings the funny.
Cons: Tamron Hall will be reporting from the Rockefeller Center Ice Rink. We are already embarrassed for her. Also, no one likes Savannah Guthrie (especially Ann Curry).
Watch This If...: You want to be like the cast of Girls.
Talent: Bill O'Reilly, Greta Van Susteren, Brit Hume, Chris Wallace, Sarah Palin, Karl Rove
Pros: If Mitt Romney loses, they'll freak out so bad it will look like a million nervous breakdowns at once.They're the only ones to have a former candidate in the newsroom.
Cons: That candidate is Sarah Palin. Also, Karl Rove, a lugey of human phlegm that came to life, will share his evil ways. That could be insightful but is also like making out with Emperor Palpatine. And, just like MSNBC, this broadcast has a political bias. Unlike MSNBC, they're not bothered by those little things called facts.
Watch This If...: You hate truth, liberty, and the American way.
Talent: Wolf Blitzer, Anderson Cooper, Candy Crowley, Erin Burnett, Paul Begala, James Carville, Alex Castellanos, Ari Fleischer, Margaret Hoover, Van Jones, Roland Martin and Ana Navarro. Is there anyone they didn't hire?
Pros: Since it's a news network, you can watch it all darn day so you can get all the sweet political news you need to stay alive. Also, it tries to be fair and balanced, which is nice. You never know when Cooper is going to lapse into a fit of the giggles and Begala and Carville are the funniest talking heads in all of punditville.
Cons: Who wants their news balanced? Tell me what to think, news! I'm stupid and need some opinions. Also, remember last election when Wolf Blitzer talked to a hologram. Yeah, that's gone. I already miss it.
Watch This If...: Like Anderson, you'd rather be watching Real Housewives.
Talent: Rachel Maddow, Chris Matthews, Rev. Al Sharpton, Lawrence O'Donnell, Ed Schultz, Steve Schmidt
Pros: If there was ever a pro, it's Rev. Al Sharpton. If Obama wins, he'll go crazy. If Romney wins, he'll go double crazy. Stay tuned! Also, Matthews will yell and Maddow will say lots of smart and vaguely mean things that are totally right.
Cons: There doesn't seem to be any virtual reality, holograms, reincarnated robots of William Taft, or anything. Where are the bells and whistles?
Watch This If...: You wear glasses.
Pros: Well, it's unfiltered, unbiased coverage of the democratic process.
Cons: That sounds more dry and boring than a dump truck full of Shredded Wheat.
Watch This If...: You hate fun.
Talent: Jon Stewart, Stephen Colbert
Pros: Screw taping, these guys are going live! That means the funny is going to be fast, furious, and possibly NSFW (damn those seven-second delays). Also, Colbert's half hour is called Election 2012: A Nation Votes, Ohio Decides; The Re-Presidenting of America: Who Will Replace Obama? ‘012!. Yup, I'd watch that. Oh, and he'll have Andrew Sullivan too.
Cons: Their coverage starts at 11 PM, so you have nothing to watch until then. But, then again, if you have a life outside of watching boring political reporting on TV, then that is actually a pro. They each only get 30 minutes. Boo!
Watch This If...: You think The Onion is real.
Follow Brian Moylan on Twitter @BrianJMoylan
[Photo Credit: Getty Images (2), Comedy Central]
MemElection 2012: What if Memes Chose The President?
Why We Can't Peg President Obama's Pop Culture Persona
Elephants Vs. Donkeys: The Pop Culture Election
If Hollywood is just like high school (which, as we can hypothesis, it is), then the developing movie The Monuments Men is that lunch table at which you always really wished you could sit. At the head of the booth is George Clooney, star and director of the in-the-works historical drama about the final legs of Germany’s reign over Europe in the middle of the 20th Century. Deadline reports that prom king Clooney has assembled the ultimate clique to make up what should turn into one of the most anticipated pictures of the coming years.
Clooney’s cast in a formidably impressive one, for sure: there’s the star quarterback Daniel Craig, homecoming queen Cate Blanchett, class clown Bill Murray, that debonair foreign exchange student Jean Dujardin, student body president Hugh Bonneville, well-rounded social butterfly John Goodman, and the token nerdy cool Bob Balaban.
This enviable bunch will embody a team of art historians who take on the mission of recovering priceless pieces of cultural art that have been apprehended by the Nazis in the interest of preserving them.
Clooney and his drama club best pal Grant Heslov co-wrote the script.
[Photo Credit: Brian To/WENN]
George Clooney to Write, Direct and Star in Nazi Film 'The Monuments Men'
'Flight' Star Melissa Leo on Denzel Washington: 'He Was Deep In His Whip Whitaker'
'Quartet': Dumbledore and McGonagall Take on Opera — TRAILER
From Our Partners:
Exclusive New ‘Twilight: Breaking Dawn’ Trailer! (Moviefone) Most Ridiculous Horror Movies Ever(Moviefone)
David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
We're getting down to the wire here. Only seven kids remain on The Glee Project, and they're ready to fight to the death for that coveted role on Glee. It's fitting, to say the least, that this week's theme is tenacity, which Ali so kindly defines for viewers who may not happen to be up to snuff with their SAT vocabulary. "Tenacity is, when an obstacle comes your way, looking at it as an opportunity and using it," she says. Nicely put.
To showcase their tenacity, the contenders are first faced with the challenge of performing my favorite song ever, Destiny's Child's 2001 hit "Survivor." (Has Glee ever done an episode dedicated to Destiny's Child? They really should. Think of all the hits! "Say My Name," "Jumpin' Jumpin,'" "Bills, Bills, Bills," "Bootylicious," the list really is never-ending.)
If Destiny's Child is around, it means Amber Riley can't be far behind. Am I right? I'm right. This week's not-so-secret surprise mentor/judge is Mercedes. And she is digging on Ali and her blonde pigtails. Girl is on fi-yah with the homework wins! Aylin's eyes flash with rage and envy-fueled contempt as her lips curl into a grinch-like smile. She's just so happy for Ali, you see, and not jealous at all. Not one bit, no sir.
Robert breaks Aylin's fury-induced trance by announcing tenacity week's group number song. Dun, dundundun, dundundun, dundundunnnnnn … It's "Eye of the Tiger" by Survivor. Survivor the band, not the aforementioned Destiny's Child song. It's confusing, I know; are you taking notes? It's at this point that Robert reveals the sadistic plan he cooked up with the other mentors: the video shoot this week will be an obstacle course in a high school gym, and the entire video will be filmed in a single shot. This is going to be a nightmare, and every person in that dusty choir room knows it.
But before the kids hit the gym, they must face Nikki in the recording booth. She is practically gleeful while explaining to the camera that this song is out of everyone's vocal range. Is she bouncing a bit while she says that, or do my eyes deceive me? It's a good thing there's a glass wall to separate Nikki and her sound-mixing cohort from the contenders, because otherwise Blake would have been in danger. Pregnant Nikki, hormones racing, looks like she's about to pounce on Blake and drag him back to her cougar's lair. He'll be lucky if he gets out of there with all his limbs.
Following Blake in the studio is pretty boy numero dos, Michael. Unfortunately for Michael, Nikki has a thing for shaggy-haired blonds. For like the 67th time this season — which is impressive, considering there have only been eight episodes — Michael can't pull himself together in the booth. I'm already getting a whiff of the bottom three.
NEXT: The gym class from hell
No more messing around, it's time to explore the fiery pits of hell that is a gym class obstacle course. And, like Groundhog's Day for Bill Murray, this is one obstacle course that is doomed to repeat itself.
To kick things off, Blake runs up a row of bleachers holding a ball, which he throws to Michael. Michael must catch the ball and dive through a tire ring like a show dog. Cue Abraham, who runs through some more tires. And was that flash Aylin? Yep, Aylin has to clear some hurdles. Then Lily pitches a softball to Ali who jumps out of her wheelchair and swims 25 laps in an Olympic-sized pool. At this point, Shanna must stay on hold with Time Warner Cable for 45 minutes while simultaneously baking muffins for her sister's kindergarden field trip to the science museum. Finally, everyone makes a pyramid and Ali slam dunks a dodge ball into the basketball hoop. Got that? Go!
Take 1: Michael doesn't make it through the hoop. Take 2: Abraham forgets to lip sync. Take 11: The jump ropers (did I miss the jump rope portion in the above rundown? My bad), lose all nerve control in their faces. Take 16: Abraham pretends to sprain his ankle. Take 24: Shanna vomits into a trash can. Take 27: Ali misses the basketball shot. Take 29: Ali misses the basketball shot. Take 32: Ali misses the basketball shot. Take 34: PERFECT. Head count, is everyone still alive?
Following such a grueling video shoot, the judges are almost remorseful about picking a bottom three. Almost. Immediately safe are Ali (could it be my friend was right, and
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.