From replicants to ancient aliens – exploring Prometheus 10 years later – bloody gross | Ad On Picture

Erich von Däniken popularized the ancient astronaut theory back in 1968 with the publication of his controversial book chariot of the gods?, suggesting that human civilization was influenced by extraterrestrials who inspired primitive religions. Although the book has been heavily criticized by academics for its misleading presentation of legitimate historical knowledge, its popularity has led to everything from sensationalist TV shows to online conspiracy groups, with many people obsessed with this idiosyncratic piece of pseudoscience.

Ancient aliens would explain many coincidences and inconsistencies in our species’ history, so it makes sense that humans would be intrigued by an idea that acts as a bridge between faith and science, mixing traditional evolution with hints of creationism. While the rise of fake news and science denials has made conspiracy discussions a contentious topic, you have to admit that these concepts make for compelling genre narratives. After all, the hallmark of good sci-fi is its use of futuristic technology and fringe theories to explore intrinsically human concepts like belief and existentialism, so it stands to reason that ancient astronauts have become a part of popular fiction.

And the way I see it, there’s one particular film that stands out for its chilling use of the concept, and that would be Ridley Scottis controversial extraterrestrial Prehistory, Prometheus. It’s been a decade since I first saw it in theaters, but I still look back on the film with a mixture of wonder and fascination. Don’t get me wrong, the film is far from a masterpiece, suffering from a clunky script, questionable action sequences and some superficial characters, but the picture is built around a series of burning questions that still resonate 10 years later, which is why I’m happy want to talk about it.

A sequel from 1997 Alien Resurrection has actually been in the works since 2002, when James Cameron contacted Sir Ridley Scott with the intention of producing the next chapter in Ellen Ripley’s xenomorph-busting saga. Those plans were eventually scrapped when Fox decided to focus on developing Alien VS Predator, which led to an argument with Cameron. However, the seeds of this unfinished project would eventually lead to it Jon Spahts Write Alien: Engineers in 2009, which script became the predecessor of Prometheus.

It might not be entirely superior to the finished product, but I’d highly recommend checking out this original script as it makes a little more sense than the final draft and some of the set pieces are scarier. engineers actually led directly into the events of 1979 extraterrestrial, which adds a Lovecraftian touch to the origins of both humanity and xenomorphs as it fills in some of the gaps left by the original series. In fact, the story was so Lovecraftian that this production ended up sabotaging Guillermo Del Toro’s proposal In the mountains of madness Adaptation that featured nearly identical action scenes and plot twists.

There’s no denying the flick’s Lovecraftian influences.

However, Scott eventually consulted Lost co-creator Damon Lindelof before production began, with the author proposing to rework the project into a perpetual spin-off only tangentially related to the extraterrestrial movies. Not wanting to repeat himself, Scott eventually agreed and hired Lindelof to revise the story with him over the next few months. While I have several objections to the changes made to Spaiht’s script, even I have to admit that they were made Prometheus standing alone was the right move.

Despite this, the overall plot of the finished film remained largely unchanged. It still followed a group of scientists who traveled to a distant planet after archaeologists uncovered a series of clues suggesting aliens may have visited humanity in the past and left star maps so they might one day contact. Funded by Weyland (before Yutani), this expedition eventually leads the team down an ancient alien-inspired rabbit hole as they discover the sinister intentions these alien engineers had for our species.

Along the way, the story uses multiple religious references, including everything from horrific virgin births to multicultural creation myths and even references to the Alien Jesus conspiracy theory. While this important piece of lore was removed from the finished film, Scott later admitted that one of the engineers’ primary motivations for wanting to exterminate humanity was the crucifixion of Jesus Christ, who appeared to be a peaceful alien emissary sent by a superior Species sent there help us in our cosmic evolution.

While it makes sense from a marketing perspective to remove such a controversial idea, it’s a shame Scott wasn’t allowed to go all out with these crazy theories. The director is clearly fascinated with religious and existential themes, and even if you’re not a fan of them Prometheus, you have to admit these are bold concepts to explore in a big-budget blockbuster. Scott would later revisit some of these ideas in both Alien: Covenant (another underrated sci-fi/horror game that deserves a re-evaluation of its own) and the tragically underrated HBO series Raised by wolves.

Prometheus is actually filled to the brim with references to Scott’s other work, which draws on several sci-fi elements Bladerunner. Weyland’s “I want more life” motivation is clearly a nod to Rutger Hauer’s Roy Batty, and Michael Fassbender‘s entire character appears to be a riff on the themes explored in the legendary Phillip K. Dick adaptation. While David isn’t technically a replicant, the film’s supplemental footage suggests that Weyland and the Tyrell corporations once competed in the manufacture of synthetic life, placing the two franchises in the same universe.


David is the real star of the show.

Beyond the esoteric story, the rest of the film is also a cinematic masterpiece. Thanks to the majestic influence of Sir Ridley Scott, this pulpy sci-fi thriller boasts a surprisingly quality cast of the likes Naomi Rapace, Charlize Theron, Idris Elba and the ever lovable one Benedict Wong. The stereoscopic photography is also top notch, with Dariusz Wolski This makes this one of the most impressive 3D movies out there.

The horror elements are also quite effective, with sinister moves like Composer Marc Streitenfeld let the orchestra play its score (and unused Alan Silvestri compositions) backwards and then flipped the music around so it sounded spooky in the finished film. This creative approach to the film’s horrors extends to its visual design, although the production team originally wanted to avoid copying HR Giger’s iconic visuals. However, they soon realized that it was impossible to escape the artist’s biomechanical nightmares when designing anything Xenomorph-related, so Giger was inevitably brought on board as a consultant. Prometheus is indeed the last film to benefit from the Swiss artist’s input, with Giger contributing to the project with several new alien designs.

Prometheus noomi rapace

These qualities don’t entirely excuse infamous blunders like Rapace engaged in intense action sequences minutes after a horrific surgery, or less-than-smart moments like supposed experts endangering the entire expedition through unprofessional behavior, but I firmly believe that the creative Intent here outshines the film’s weaknesses. If you think about it, those blemishes are only noticeable because the filmmaking surrounding them is so damn good to begin with, not because they ruin the experience.

Honestly, the only thing that bothers me here is the bloated ensemble that doesn’t allow for talented actors like Elba and Guy Pearce to fully develop their admittedly interesting characters. The over-reliance on supplementary materials like the viral marketing campaign (which has spawned a number of brilliant short films and in-universe promotions) to fully understand the story is also a bit annoying, especially when there are so many cool concepts and monster designs at the end the floor of the cutting room.

While speculating about the film is fun Prometheus could have been, I still think it’s a marvel film despite its numerous flaws. It’s definitely the most creative trait to get out of extraterrestrial franchise since the 1979 original, and I think the prequel’s reputation as a missed opportunity is largely unjustified. In a world where interesting intellectual property is typically wasted on boring reruns, Scott has somehow managed to gift us with a smart, standalone thriller that still has plenty of hardcore goodies extraterrestrial Fans, and that’s why it’s still worth revisiting 10 years later and beyond.

Ridley Scott's PROMETHEUS

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