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.
Seven years earlier after a friend's wedding a group of guy pals vow to stay single for life. To sweeten the deal they put some money into a stock portfolio with the last remaining bachelor taking home the accumulated jackpot which has since grown to a whopping half a million dollars (the 90s market remember?) The competition comes down to two remaining tomcats Michael (Jerry O'Connell) and Kyle (Jake Busey) but the stakes are raised when Michael a struggling cartoonist becomes indebted to a casino owner for $51 000. Facing a certain and painful death if he fails to repay the debt within 30 days Michael plots to get Kyle to the alter with Natalie (Shannon Elizabeth) a former one-night stand who will do the deed for half of the prize money. Problem is Kyle is a sexist jerk and the future bride is a smart and beautiful cop who has her eyes on Michael.
While this film doesn't have too many redeeming qualities Jerry O'Connell is one of them. His character Michael Delaney is one of the few characters in the movie with a conscience. Working from a script that consists mostly of one boner joke after another O'Connell fares quite well considering the lines he has to deliver. He even becomes the underdog you end up rooting for. Jake Busey is a different story altogether: his character Kyle does not evoke the slightest shred of sympathy even as he lies on a hospital bed battling testicular cancer. Kyle is crass vulgar and chauvinistic. He treats women like dirt spewing lines like "I don't want a feminist bitch who'll keep her own name when you marry her." Natalie Parker who plays O'Connell's love interest gives a fair but slightly lackluster performance as an unrealistically bright sharp-shooting cop with a bone to pick. In one scene she casually discusses her love life with her partner during a shoot out in a crack house. Bill Maher (best known for hosting the late-night talk show "Politically Incorrect") makes a cameo appearance as the casino owner. The rest of the cast consists of a lot of blondes who all resemble one another.
Gregory Poirier (See Spot Run) who wrote and directed Tomcats knows his audience and gets right to the point. The film does not try to be clever and it may actually alienate anyone who is not a hormone-laden frat boy. The story is lame and predictable and most of the characters are obnoxious and detestable. There is no outstanding cinematography to speak of and there are no special effects. But let's face it Tomcats' target audience is not going for great visuals. They want their jokes Porky's style and Tomcats definitely delivers those. In a film that features librarian-by-day-dominatrix-by-night story lines lesbian fantasies and Viagra jokes Poirier is too busy catering to teenage boys to worry about being offensive to everyone else.