By John P. McCarthy
Catholic News Service
With its tentacles dipping into Greek mythology, the fountain
of youth, Frankenstein narratives, and humanity’s noblest metaphysical
impulses, Prometheus unspools
like a grandiose mash-up of perennial sci-fi themes — using polished
cinematic tricks Scott helped invent.
Unsurprisingly, given his knack for crafting popular entertainment, it has enough substance and spectacle to be intriguing and immensely profitable.
In the year 2093, scientists Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green) want to test a theory about the origins of human life based on drawings found at six archeological sites on Earth. Aboard the spaceship Prometheus, the romantically involved pair awake from cryogenic sleep as the vessel approaches an unnamed planet where they believe the evidence lies.
Meredith Vickers (Charlize Theron) oversees the mission on behalf of its financial backer, Peter Weyland (Guy Pearce). In addition to its human crew, the Prometheus carries an android called David (Michael Fassbender). While the humans slumbered during the two-year journey, David has been learning as much as he can about everything he can.
He’s a cross between Star Trek’s Mr. Spock, a super-efficient butler, and Lawrence of Arabia, whom he’s come to admire after watching the 1962 epic.
Landing on the desolate planet, the team discovers a large edifice containing remains of the giant beings dubbed “engineers,” whom Shaw and Holloway postulate gave life to man. A dark primordial sludge is also present, along with worms and serpents akin to the signature reptilian parasites from previous Alien movies.
There’s evidence to substantiate the scientist’s hypothesis — they will literally meet one of their makers — but the ensuing devastation short-circuits the quest for answers to even deeper questions. Many meet grim ends, and in the most gruelling scene an alien is surgically extracted from Shaw.
The special effects are first-rate — transfixing without being overwrought. But Jon Spaihts and Damon Lindelof’s script is both simplistic and muddled. Key pieces of information are glossed over. At other times, the dialogue spells out too much. The images and action, riveting though they may be, don’t carry enough weight; often we’re told things we should be shown.
Fassbender is outstanding as David. And Rapace, star of the Swedish-language version of The Girl With the Dragon Tattoo, makes Shaw a worthy predecessor of Ripley, the heroine of Alien.
Shaw’s faith, signalled by the cross she treasures, is the primary means by which the movie tries to hedge its bets vis-a-vis religion. Her desire to know why the “engineers” chose to fashion humankind isn’t quenched.
Moreover, how they themselves came into being isn’t explained.
According to the film, this allows for the possibility that a Creator exists whom Christians and other deists can accept.
Dramatically and theologically, it’s a weak argument: too little and too late. We knew going in Ridley Scott was a shrewd commercial filmmaker rather than an auteur with great artistic ambition. Judging by Prometheus, he’s not a coherent cosmologist, either.
The film contains considerable grisly sci-fi violence,
several instances of rough language, much crude and crass language, significant
profanity, some sexual references and innuendo, nonexplicit relations
between an unmarried man and woman, one use of marijuana, and some alcohol
consumption. The Catholic News Service classification is O — morally offensive.
The Motion Picture Association of America rating is R — restricted.
Under 17 requires accompanying parent or adult guardian.
Catholic News Service
NEW YORK (CNS) — The Holy Father plays straight man to an amorous lemur in Madagascar 3: Europe’s Most Wanted (DreamWorks).
It’s one of dozens of “Bet you didn’t see that one coming!” moments, and all in good fun in this fast-moving, animated 3D adventure, the third instalment in the “Madagascar” franchise.
Explaining cartoon silliness not intended to give offence is the most tedious exercise possible, but since this one involves the Holy See, here goes:
King Julien, the lemur from the first two films (voiced by Sacha Baron Cohen), is besotted with Sonja, a performing circus bear. In a swift montage that goes from Rome to Vatican City, they have a private audience with the pope (It’s cartoon logic, remember) and while kissing the papal ring (all of the pope that’s seen), King Julien sucks it off the papal finger so he can buy his new love a fancy motorbike to replace her tricycle. Police descend on the motorcycle dealer to retrieve the ring, so the theft is quickly punished — although not King Julien.
So it’s more weird than funny, but so is the notion that a zebra can fly, and that happens, too. Laws of physics don’t apply here.
The plot picks up where the second film ended, with the four principal characters: Alex the lion, Marty the zebra, Melman the giraffe and Gloria the hippo (voices of Ben Stiller, Chris Rock, David Schwimmer and Jada Pinkett Smith, respectively) stranded in Madagascar by the mischievous penguins and chimpanzees, and trying to return to New York City and their home in the Central Park Zoo.
They swim (how else?) to Monaco to catch up with the penguins, chimps and their cache of jewels at a casino, and while escaping from French animal-control officer Chantel DuBois (voice of Frances McDormand), who only wants Alex’s head as a trophy, they stumble onto a decrepit European circus, which they then buy with the jewels so they can turn the circus around so it will tour in America.
At this point, the film takes on its moral footing, since the gang has to restore confidence to the animal performers, including Vitaly, a Russian tiger (voice of Bryan Cranston) who has lost his courage to dive through an ever-smaller set of rings. Co-directors Eric Darnell, Tom McGrath and Conrad Vernon, with a script co-written by Darnell and Noah Baumbach, fill their story with a rich vein of European circus lore, combined with an uplifting message about believing in one’s special abilities.
Young children will delight in the silly faces and fast-moving action, while the adults who take them will groan at dated references to the Spice Girls and Driving Miss Daisy. Astute parents of perceptive older children may have to explain that Edith Piaf’s “Non, je ne regrette rien” as sung by DuBois is not, in fact, the French national anthem, although it is hilariously presented that way.
The film contains intense action sequences. The Catholic
News Service classification is A-I — general patronage. The Motion Picture Association
of America rating is PG — parental guidance suggested. Some material
may not be suitable for children.