Ridley Scott's pre-side-quel to the "Alien" mythos has elements of great insight and wisdom coexisting with utter boneheadedness.By Serdar Yegulalp on 2013/01/21 13:00
There are two films within Prometheus, one brilliant and the other inane. The brilliant film is preoccupied with questions about man’s place in the universe, and the ghastly indifference of the universe to such questions in the first place—much as Alien itself was before. The inane film is full of people running around like idiots and screaming at each other and getting killed horribly by space monsters. Sorry, folks, but that's the way it is.
It’s not impossible for two such wholly disparate films to coexist inside the same skin. In fact, the one movie that comes most readily to mind is not any of the previous Alien films, but the “Hellraiser-in-space” horror-SF hybrid Event Horizon. Buried within that mess of a film was either a great horror movie or a great SF movie, but the filmmakers tried to have it both ways and the studio a third, and the end result is one of those films that deserves a director’s cut that we’ll most likely never have. Prometheus, on the other hand, was the movie that Ridley Scott and his cohorts wanted to make, so none of them can fall back on the Terry Gilliam Tampering Clause to explain the results.
For some, The Dark Knight was the moment when the “comic book movie” finally became cinema. For others, it was the moment when the bottom fell out.By Serdar Yegulalp on 2013/01/04 10:00
For some, The Dark Knight was the moment when the “comic book movie” finally became cinema. For others, it was the moment when the bottom fell out, when the “comic book movie” became a self-indulgent and bloated enterprise, a mix of art-film pretentiousness and big-budget spectacle splatter. I take the middle view: this was the moment when the “comic book movie” stopped being a “comic book”—a genre—and started becoming a medium, a receptacle for whatever you could see fit to pour into it.
Small wonder The Dark Knight has been stuck with so many genre labels apart from “comic book”. I’ve seen it variously described as an urban thriller, a heist film, a noir crime drama, an existential revenge picture—anything and everything that would seem to take it that much further from its roots in either the Bob Kane comic, the campy ‘60s TV series, or the Pop Art Deco movies of the ‘80s and ‘90s. Batman itself has, and comic-book movies generally have, been reinvented to the point where it’s the reinvention that matters far more than the source material.
Science fiction, rebooted.
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