Prometheus

Michael Fassbender, Noomi Repace, Charlize Theron, Logan Marshall-Green, Idris Elba, Guy Pearce

Dir. Ridley Scott
Scr. Jon Spaihts & Damon Lindelof

If you’re expecting the stark simplicity of Alien or the visceral action of Aliens, you’ll probably be disappointed. Also, please don’t expect a paint-by-numbers prequel – there is at least another one, if not two, instalments needed between Prometheus and Alien. But, you know what, it’s pretty darn good. It’s cerebral, for sure, but also action-packed, beautifully presented and certainly compelling. I’m sure Alien/sci-fi purists will find plenty at fault and, intellectually, it’s a real mash-up of ideas. But I highly recommend nonetheless.

It’s 2090-ish and a team of scientists, aboard the ship Prometheus, journey to a distant planet in search of the origins of humankind. What they find is startling and, ultimately, a threat to the continued existence of all humanity. Enough said (this is, I hope, a spoiler-free zone).

Continuing to shun 3D wherever I can, I saw this film in 2D. Ridley Scott himself said the 2D version was beautiful. And I couldn’t agree more. This movie is a real feast for the eyes – utterly visually arresting. Scott, arguably, helped define the look and feel of this genre and Prometheus is proof that he hasn’t lost his touch.

In terms of the story, there has been much criticism. Without going into too much detail, I agree with some that the messages are laboured and the plot, at times, is flimsy. But the big questions – where did we come from and why – are boldly posed and remain with you well after the credits have rolled. They’re not new questions but, so what? I was challenged and entertained. One has to ask, isn’t that the point of a good film? In terms of scary bits, Prometheus certainly delivers. And, yes, there’s a nice amount of gore and things bursting out of other things.

In terms of acting, it’s all pretty good. Much has been made of Repace’s turn as archaeologist Elizabeth Shaw. And, yeah, she does well. Shaw suffers a great deal in this film, there’s no denying, and maybe I just wanted Repace to be tougher in her portrayal. Like Weaver’s Ripley perhaps. Marshall-Green, who plays Shaw’s partner in both archaeology and love, is a little wooden for my liking. And resembles the far superior Tom Hardy so much that I was continually disappointed he wasn’t actually Tom Hardy. Theron and Elba are both excellent – great characters actors in their own way and both on very fine form here. Pearce’s portrayal of the very elderly Peter Weyland is somewhat of a puzzle. Why not just get an old man to play an old man, rather than coating Pearce in so much make-up he’s largely unrecognisable. It makes me think large chucks of this film ending up on the cutting room floor. Scott will, undoubtedly, release a director’s cut at some point and maybe we’ll see Pearce without the rubber face. There is absolutely no question that Fassbender is the star of the show. As android David, a robot with more feelings than he perhaps knows what to do with, Fassbender is a welcome addition to the alumni of Scott’s synthetic creations. He’s slightly sinister, most definitely arrogant and jealous of all that he lacks. He acts circles around almost all of the rest of the cast and steals every scene he is in. Simply wonderful and, along with visual world Scott has created, well worth the price of admission.

I don’t doubt that Ridley Scott fans will flock to see this film. They will want an experience equal to his earlier work in the science-fiction genre. Maybe a fair few of them will be disappointed. But I wasn’t. Prometheus isn’t a masterpiece, but it’s a masterly work by a master of his trade.

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David: How far would you go to get your answers?

Carnage

Jodie Foster, Kate Winslet, Christoph Waltz, John C Reilly

Dir. Roman Polanski
Scr. Roman Polanski & Yasmina Reza (based on her play)

I had a lot of fun watching this movie. Watching civilities break down and manners thrown out the window. Sure, it feels like a play and, at times, is a little stilted and contrived. And Polanski obviously doesn’t feel the need to try too hard to remind us we’re at the cinema rather than the theatre. But, you know what, I simply didn’t mind. When am I going to get the chance to see this play, let alone see it with four such wonderful actors? It’s confrontational, claustrophobic and utterly funny. Highly recommend.

In a park in New York, two young boys get into a bit of push-and-shove, resulting in the swing of a stick and the loss of a couple of front teeth. In order to deal with the altercation, the parents of both the “bully” and the “victim” meet over cobbler and coffee. Strained yet civil conversation swiftly descends into behaviour more grotesque and juvenile than anything done by their respective sons. Hilarity and cringe-worthiness ensues.

Carnage is cleverly shot, in real time, in one location (with the exception of the opening and closing scenes). A movie based on a play that feels like a play. Like I said, this didn’t bother me. Although I concede it may well bother many. This movie hinges on great dialogue, which it has in spades, and actors capable of descending into madness.

And what a great quartet we get to witness descend. Foster takes on a largely unlikeable role, as bleeding-heart judgmental liberal Penelope, and is wonderfully awful. Winslet is a joy to watch also, as the immaculate Nancy. Her unfortunate incident with the apple and pear cobbler is so gloriously out of character and utterly revolting. Reilly, as Penelope’s husband Michael, is on fine form and the first to completely throw off his carefully constructed mask. For my money, Waltz is the highlight as Nancy’s work-obsessed and cynical husband Alan. Waltz plays the only character who is true to himself from the beginning and, perversely, this makes him all the more likeable despite his surly and unfeeling manner. All have great dialogue to work with and each gets multiple chances to shine throughout the movie.

The final scene, back in the park with the boys, is a lovely reminder that kids are kids. Which makes the actions and behaviour of their parents all the more despicable. I guess this isn’t the most uplifting of films, but I was having too much fun to notice. And who’s to say we wouldn’t have behaved in a similar way? A sharp, short, beautifully acted piece of cinema.

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Alan: Morally you're supposed to overcome your impulses, but there are times you don't want to overcome them.

Men in Black III

Will Smith, Tommy Lee Jones, Josh Brolin, Emma Thompson, Jemaine Clement, Bill Hader, Michael Stuhlbarg

Dir. Barry Sonnenfeld
Scr. Etan Cohen

It’s been ten years since Men in Black II and I guess, like most cinema-goers, I wasn’t really expecting a third instalment. Especially after being so disappointed by part two. But here we have it (in 3D of course) and I certainly didn’t have to be too convinced to part with my money yet again to watch Will and Tommy and a whole lot of funky aliens. While I would argue that this film may be slightly better than the one before it, it really does fall very short of being anywhere near as funny or surprising or exciting as the original instalment. The film is saved from complete failure by Smith’s ever-bankable charisma and Brolin’s phenomenal Tommy Lee Jones impersonation.

Agents J (Smith) and K (Jones) are still partners, protecting the earth from the scum of the universe. The particular scum in MiB III is Boris the Animal (Clement, channelling David Bowie), the last remaining Boglodite in the universe, who at the beginning of the film escapes from a lunar prison and is bent on revenge and world domination. As you do. When he travels back in time and kills a younger K (Brolin), J must follow him to 1969 in order to save not only K, but the entire human race.

First things first: it’s not funny enough. The humour often feels forced and contrived. Smith’s timing is as good as ever, but he seems to have much less to work with than he should. There aren’t enough crazy and surprising aliens posing as humans, which is arguably what originally set MiB apart. Brolin is wonderfully funny, but this is due to his spot-on portrayal of a young Jones rather than any sparkling dialogue. Clement’s comic brilliance is woefully underutilised, as Boris is largely a humourless baddie. For me, the funniest scene is between young K and Andy Warhol (Hader), but this was mostly due to a whole lot of pop art-related gags.

The lack of laughs weighed heavily on me. Despite this, I have to say some of the acting is great. Jones, sadly, dials his performance in. But he only features at the beginning and the end, so, whatever. Smith is great, as ever. He is utterly watchable. Hader and Stuhlbarg are welcome surprises and both brilliant. Clement is good, but I think the interpretation of Boris could have been so much better (which, I suspect, is not Clement’s fault). Thompson (as Agent O) seems out of place and pointless. The absolute star of the show is Brolin. You would be forgiven for thinking he’s lip-syncing to a voiceover by Jones. But, no, this is all Brolin’s brilliance. And he’s given quite a lot to work with – imagine Jones’s K before he got all old and grumpy, but still with his quirks and dryness and a dash of emotion. Smith’s charm and Brolin’s performance, I contend, is probably just about worth the price of admission.

If you’re a Will Smith/Men in Black fan, by all means, see this film. It’s not great. At times, it’s not even good. But as long as you don’t expect too much, you’ll probably enjoy yourself.

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Agent J (to Agent K): I am getting too old for this. I can only imagine how YOU feel.