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 his new film Due Date director Todd Phillips (Old School The Hangover) stages a rather audacious cinematic experiment placing two enormously talented actors Robert Downey Jr. and Zach Galifianakis on a mostly deserted island handing them an assortment of blunt and broken tools and charging them with constructing a free-standing fully-functioning Hollywood comedy.
To his credit Phillips was at least considerate enough to supply his comic Crusoes with a detailed blueprint. An odd-couple/road trip movie hybrid Due Date unapologetically mimics Planes Trains and Automobiles one of the John Hughes' rare “grown-up” comedies in which Steve Martin starred as a straightlaced family man forced to travel cross-country with a gratingly affable slob played by John Candy in order to make it home for Thanksgiving. (Surely there have been other such films before and since but Hughes’ work is the one Due Date most vividly recalls.)
The film’s script co-written by Phillips and Adam Sztykiel adds a handful of 21st-century twists to the formula: A baggage snafu while boarding an airplane leads Peter Highman (Downey) a type-A architect with a history of anger-management issues into a confrontation with a Federal Air Marshal that subsequently lands him on Homeland Security’s no-fly list. Stranded without reliable transport lacking the means by which to procure any (he left his wallet on the plane) and desperate to be reunited in L.A. with his pregnant wife (Michelle Monaghan) in time for her scheduled c-section he reluctantly agrees to hitch a ride with the same tubby schmuck Ethan (Galifianakis) who moments earlier was the catalyst of his security debacle.
The unlikely travel companions embark on a calamitous road trip from Atlanta to L.A. during which Ethan proves to be something of a disaster magnet with Peter bearing the brunt of the damage that occurs. Their navigator Phillips lazily guides them through an uneven obstacle course of comic scenarios some of which are embarrassingly predictable (Ethan stores his beloved father’s ashes in a coffee can and they’re later accidentally used to make coffee!) all of which are designed to showcase Downey’s caustic wit and Galifianakis’ sublime daffiness.
Few actors today deliver choice insults better than Downey and even fewer absorb them better than Galifianakis. They make for a truly marvelous collision of opposites and their interplay is what elevates Due Date above its often puzzlingly flat material. (That along with Galifianakis’ gift for physical comedy; no actor outside of the Jackass crew can better sell a collision with a car door.) The film's supporting cast meanwhile criminally underachieves. Conspicuous cameos from the likes of Danny McBride Juliette Lewis and Jamie Foxx are either unfunny unnecessary or both. On this road trip they’re little more than baggage. Thankfully Downey and Galifianakis are more than capable of shouldering the burden.