Review: Prometheus

Rating: 15

Duration: 124 mins

Ridley Scott makes a bold return to the sci-fi genre -- one that fundamentally defined him as a pioneer in the genre with the likes of Blade Runner and Alien -- as it becomes his first directorial outing since 2010's Robin Hood.

The hype surrounding his latest epic Prometheus, has certainly elevated in 2012. Whilst it hasn't reached the obsessive levels of Dark Knight Rises fever, Scott's hiatus from the genre has only heightened expectation, as well as reignited speculation surrounding him bursting back onto the scene with a Blade Runner sequel.

Unavoidable comparisons and intrinsic links to Alien will be made, and with just cause; if you're familiar with Alien, similarities are there, yet remain slightly ambiguous in the sense that it's not an overt prequel, but more of a potential precursor to the face-hugger classic.

The set-up feels familiar; when a series of ancient artefacts point towards the chance to discover who mankind's makers are, a team of scientists are assembled to journey to the outer reaches of space to discover, and hopefully answer, the biggest questions humanity have: why are we here?

The two significant aspects here are the film's aesthetic and story. From the opening shot of breathtaking landscapes, down to the detailed space craft interior, it's safe to affirm its visual mastery. From its architecture to technology, every scene maintains an extraordinary quality that's simply gorgeous to look at. However, whilst it is an aesthetic marvel, it is the loose nature of the narrative that stutters proceedings. For the main part, there are some fascinating elements amidst some tantalising reveals, but aren't expressed coherently enough. Therefore, other moments suffer as a result as there's a distinct lack of terror and suspense Scott's prior work possesses in abundance.

Inevitably, the hype was always going to drown the movie, no matter how good it is, but such expectations can indeed prove dangerous. The film by no means fails, but buying into the ridiculous expectations set, you may feel let down. Admittedly it doesn't possess that spark (at least not initially) to deems it a modern classic, but is a feature that perhaps warrants a second look.

Fans of Alien and Ridley Scott's work will be more than drawn into his immersive world; one he creates superbly. He knows how to construct a living, breathing existence, even if the script isn't quite up to the same high standard. Those unfamiliar will also find themselves enchanted by its beauty and ability to entertain as a blockbuster.

VERDICT: Prometheus plays out predominantly as science fiction rather than juxtaposing itself with horror, but in terms of the former, it works wonderfully and certainly looks and feels the part. It can't help but come across as a precursor to Scott's 1979 classic, which by no means is a bad thing. However, plot-wise it remains sketchy and the acting isn't as accomplished as it could be, but Fassbender makes up for this with an intriguing role. 

Whereas Alien is sci-fi and horror that transcends a deeper meaning with more naturalistic acting and believable plot, Prometheus seems to cater more towards modern audience expectation, opting for  high concept accessibility rather than high concept intelligence.

Competition: Win a copy of Haywire on Blu-ray & a Hoodie!

The Littlest Picture Show is giving you the chance to not only win a copy of Steven Soderbergh's HAYWIRE on Blu-ray, but a HAYWIRE branded hoodie as well! What's more, there are TWO sets of these great prizes to giveaway, so simply read on to find out how to enter...

Soderbergh directs an all star cast in action thriller HAYWIRE, including mixed martial arts supremo Gina Carano as Mallory Kane, a highly-trained black ops specialist, contracted for hazardous covert missions by the US Government. When her paymaster’s point-man (Ewan McGregor) teams her with fellow agent (Channing Tatum) to extract a Chinese journalist held hostage in a Barcelona safe house, the mission swiftly unravels and she barely escapes with her life. During her next assignment in Dublin, with Irish assassin Paul (Michael Fassbender), Mallory is violently betrayed and pursued across the city by the local police and assorted ruthless hitmen.

HAYWIRE is released on DVD & Blu-ray on May 21st 2012

HOW TO ENTER:

FOLLOW me on Twitter here and TWEET the following:

#COMPETITION: #WIN HAYWIRE on Blu-ray & a branded hoodie! RT & FOLLOW @littlestpicshow to enter! Details here: http://tiny.cc/9b82dw #film

NOTE: If you're not on Twitter, then you can email the above quote to mike@thelittlestpictureshow.co.uk including your name, with 'HAYWIRE Blu-ray & hoodie COMPETITION' as the subject title.

For more info: www.facebook.com/HaywireUK

TERMS & CONDITIONS:

Entries must be in by May 19th .
The winners will be selected & notified on May 20th.
Open to UK residents only.
No cash alternative. 
Entrants must be 15 or above.


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Review: Shame

Rating: 18

Duration: 101 mins

The breakthrough of 2011 may be awarded to Ryan Gosling, but dismissing the competition would be a vast oversight. Appearing in no less than five movies over the past year, including X-Men: First Class and Jane Eyre, Michael Fassbender is without doubt one of the brightest talents to emerge as of late.

Following on from Steve McQueen's acclaimed début drama, Hunger, Michael Fassbender and Carey Mulligan star in his latest efforts about a New Yorker and his inner battle with sex addiction.

The adult-themed, intense story of Brandon (Fassbender), exists in a very private, sordid and emotionally isolated life as he indulges in his addiction until younger sister Sissy (Mulligan), turns up unexpectedly seeking somewhere to stay. Suffice to say Brandon is not keen on the invasion of his personal space, as McQueen depicts the, at times, explosive co-existence of the siblings as their troubled lives collide with severe consequence.

Fassbender issues a powerful and very accomplished performance as his character swings from charming to   brooding; kind and considerate to overtly aggressive, with a genuine volatility of a person constantly battling with his demons at every turn: whilst on the outside he appears to be pleasantly suave when it comes to the opposite sex, his sexual depravity and obsessive womanising more often than not takes over.

Mulligan also offers a fine performance as Sissy, who seems to be the element that pushes Brandon to the brink as he tries in vain to submerge his problems from those closest to him as well as himself. In fact, both actors work superbly together as we are exposed to moments of supportive embrace, followed by extreme resentment, which adds genuine intensity to the situation.

Steve McQueen delivers an accomplished film that delves into the emotionally complex lives of Brandon and Sissy. He captures the essence of the city they inhabit, notably through such scenes as a late night jog that literally tracks Brandon through the rich diversity of the streets: it lasts for a while as a continuous shot and is a delight to watch. McQueen also oddly manages to convey a somewhat conflicting, yet engaging view of Brandon: the semi-glamorous lifestyle of a liberal bachelor, versus the painfully damaged deviancy that allures him on a daily basis.

It's no shock to learn that there are several explicit sexual scenes that are key to the plot, but then were you expecting anything else? The close-up reveal of  Fassbender's penis within the opening few minutes is an indication of things to come, as the narrative takes us through his day-to-day endeavours: Internet pornography, prostitution, as well as a frontal snippet of Mulligan's torso, yet is contextually in keeping with  the story without feeling contrived or frivolous. 

Amongst several beautifully shot scenes, perhaps the one that stands out more than any is Sissy's rendition of New York, New York: it encompasses the heartfelt sorrow of her character. It also tonally defines the film itself, as she treads ever so carefully through the song, with a prolonged shot of her eclectic, impassioned face for the entire duration: McQueen certainly knows how to engage his audience and capture the mood to striking effect.

It's a shame (no pun intended) that this character driven piece will be swept aside come the Oscars: it's far too brash and overt to fit in with the conservative conformity of the committee, yet hopefully won't devalue its worth and merit as a great film.

VERDICT: Shame is a fascinating character study of a man plagued by insecurity and an inability to emotionally relate to, well, anybody. A dark, and arguably seedy story, given a sense of elegance, class and beauty by director McQueen, allows Fassbender - and Mulligan to a lesser extent - to resonate in their roles. The explicit nature of the film will undoubtedly turn some viewers away, but be sure of one thing: these will be the ones missing out on something well worth the ticket price.