Film Review: Scanners (18) (Canada 1981) (Director: David Cronenberg) Friday 22.06.2012 23:00 The Cameo Cinema Screen Two, Edinburgh 

This is the second early Cronenberg film I have seen at the cinema in as many weeks, having seen The Brood for the first time the previous Friday. I had not seen Scanners before either. I had though seen a clip of the exploding head shot, so knew that was coming, though it still looked quite spectacular. Sadly though, this came early on in the film, and there was never anything as visually striking as the film went on. This though feels a churlish point as there needed to be something of considerable impact for the responding attack that came to be reasonable (within the confines of the story), and for the time it was made, it was an effect that few may even have dreamed could be pulled off with such convincing aplomb.

To me the film centres around the danger of others having unedited access to our thoughts, without being able to put them though the censoring process of verbalization, and the potential destructive response from others to getting such unfiltered information. I had felt The Brood had stuck closely to what I understood the plot's focus to be about, whereas I did not feel that was done so well with Scanners, except to say that it establishes the issue, and then the rest of the film focuses upon attempts to destroy the ability to access unfiltered information by trying to destroy the Scanners. An interesting premise was set up, then built on top of this was a violet chase. Despite feeling it to not be as considered a film, I did never the less find it engaging and enjoyable.

It feels difficult to know what else to say about it, without going into plot details.

Rating: 06/10.

Film Review: 7 Days in Havana (Edinburgh International Film Festival - Director's Showcase/International Premiere) (France/Spain 2012) (English & Spanish with English Subtitles) (Directors: Benicio Del Toro, Pablo Trabero, Julio Medem, Elia Suleiman, Gasper Noe, Juan Carlos Tabio, Laurent Cantet) Friday 22.06.2012, 18:20, Cineworld Screen Eight, Edinburgh

I had gone to see this as had gone to Havana for a holiday some years back. I have a general interest in Cuba, and since it is not often that films are shot there (although this is the 2nd film shot in Havana released here this year), that when they are, I tend to wish to see them.

Each of the 'directors' were responsible for a day of the film each. The differing days contained differing characters/events, though there was slight overlapping of these.

Within the film there are many places shown which I have a clear memory of, and it was nice to see them being shown in a film. The hotel I stayed in was shown in three of the sections/days of the film, which did make me wonder whether there were financial incentives/deals involved in the making of the film.

Four of the days (and part of one of the one of the other days) in the film focused upon Cuba's relationship with outsiders: how visitors find it to be exotically intoxicating/can be vulnerable to being taken for a ride, and how Cubans can desire to leave, though feel torn about this. Four and a bit days of a 'seven day' film, being focused upon this, felt to be imbalanced to me. Again I wondered whether this was a result of agreements made in relation to getting funding for the film, or whether it is just the result of having outsiders looking at the country. Despite this imbalance of focus, at least it looked at both Cuban's relating to the world as well as the worlds relating to Cuba.

I was intrigued to see that across three of the days, Cuban's differing relating to sexuality, that is not Heterosexual, was reflected upon. This differing relating was also connected to religion. The Afro-Cuban religion where witch-doctors perform rituals (as shown in the film) among other functions, was presented as the more reactionary community, than the communities shown in the other days. Generally speaking, this fits with my understanding of how this is in Cuban society, where sexuality can be far more contentious than it is here.

I had felt that there were stories that worked better than others, though overall I found the film enjoyable. The weakest day, was in my mind the first one by Benicio Del Toro, which I had suspected was his section before this was confirmed in the end credits. I was able to easily identify the sections done by Julio Medem & Gasper Noe, though I'm not sure if this says more about the film or my familiarity with these directors other work.
The section by Julio Medem, although I did enjoy it, it did contain what I reckon to be one of the most ridiculous sex scenes I have ever seen (I found myself laughing at it) and considering the quality of the intimate scenes in his film Sex and Lucia, I found this quite odd.
The section I enjoyed most was the one done by Gasper Noe, which is also the section that concerns the Afro-Cuban Faith and the Rituals performed by Witch Doctors within this. This section contained no dialogue, was beautifully lit and quite hypnotic.

Overall Collective Rating: 07/10.

THE TALLEST MAN ON EARTH: THERE'S NO LEAVING NOW 11.06.2012

Album Review: The Tallest Man On Earth (Sweden), There's No Leaving Now (Released: 11.06.2012), Label: Dead Oceans, Available on Vinyl & C.D.

 I was introduced to the work of this artist to a couple of years ago by a friend who shares similar tastes in music to myself. That was at the time of the previous album 'The Wild Hunt', and I was very impressed from the off.

'There's No Leaving Now' is the guys 3rd Album (Debut is called 'Shallow Grave'), and I feel that all I have heard of this artist impresses me. I have read elsewhere his vocal style being compared to the likes of Bob Dylan, Woody Guthrie & Pete Seeger. I would not disagree, though also feel his voice to be quite distinct in its own right. What surprises me in regard to this, and I don't feel there would be any clues in listening to his music, is that he hales from Sweden (His real name is Kristian Matsson). As well as the Albums, he has also produced 2 E.P.s. The most recent Album is self-produced and all of his work is written and performed by him (he has two guests on two of the tracks on the most recent Album). I would say that he has maintained a high quality across all of his releases and in my mind displays a singularity of vision as to how he has his releases sound and presented. All this and he has not even reached the ripe old age of 30.

His sound would probably be regarded as coming under the banner of 'fokey', and he has said that his style of guitar playing is influenced by what he heard in listening to Nick Drake.

On the most recent Album a large share of the songs sound as though they are solo-acoustic guitar, with some others having piano and electric instruments. There is a good range of tempo across the Album. The singing is stronger than the references noted above may suggest, and as with these artists he is very good with lyrics in a very economical way.

I have decided not to discuss particular tracks. In my view there is not a weak track on the Album, so it would serve little purpose to go through them one by one. Despite saying there are in my mind no weak tracks, and feeling the album to be a very pleasurable listen, I don't feel it is an 'instant classic'. Despite being so good on first listen, perhaps it will be a grower.

I would most definitely recommend the Album, except to people who can't listen to Dylan due to his voice. Although I think his voice is distinctly different, I do think it is similar enough that if you were adverse to Dylan's voice, I don't think this would do it for you.

Rating: 09/10. (Purchased on Vinyl).

Film Review: Pusher (Edinburgh International Film Festival - Michael Powell Award Competition/World Premiere) (U.K. 2012) (Director: Luis Prieto), Thursday 21.06.2012, 20:20, Cineworld Screen Eight, Edinburgh

I tend to be weary of remakes, particularly when the original is relatively recent (1996) and extremely good. I was curious due to hearing good critical press in regard to the remake and as it was a British remake as opposed to American, I felt up for giving it a shot.

I was pleasantly surprised as felt it to be a very good film, and in no way did it feel to be a lazy copy. The story is largely similar, with different embellishments to the detail of what happens to the central characters. The physical and emotional escalating affect to the central character, up to the climax of their story within the film, I felt to have been well portrayed. The character does appear appropriately more and more strung out and desperate as the film goes on.

The central character is portrayed by Richard Coyle. I had previously only seen him in the sit-com 'Coupling' - where I found him to be the best/most-funny element, and the disappointing reprisal of the ITV Drama 'Cracker', both of which were very different roles. His partner in the film, in the biblical sense, is portrayed by Agyness Deyn, who until now has only really been known as a model. I found them both quite believable as their characters, and as those characters within their relationship. I was particularly impressed by Agyness Deyn. Considering this is her first film and I went in with reservations about her being used in the film, I felt her to be quite a revelation, and would not be put off a film in the future if she were to be in it.  

The film is well paced with little let-up, which befits the story. In contrast to the original, the colour palate used feels more vibrant. There are parts where the central character is particularly strung out, where the image feels appropriately too bright, with added visual flourishes, which work particularly well. The violence was to a degree kept of screen, or glimpsed/seen from a distance, though the aftermath is clearly portrayed - this struck me as a more traditional way of violence being portrayed, and more effective with it. 

The soundtrack was overseen by Orbital, which felt particularly appropriate, and was very good.   

The only quibbles I have are:
Why did Paul Kaye (Dennis Pennis) have to be used in a thankfully small role?
The Main kingpin dealer who the central character gets into trouble with, Milo, is played by the same actor (Zlatko Buric) who plays the character in the original 'Pusher' film. Although the part is performed very well, as it was in the original, this did jar to a degree. These quibbles are just minor nit-picking. Overall I was very Impressed, and this I must say quietly; I did find it to be a more fun film to view than the original.
I would recommend this film, for people who enjoy gritty drama.

Rating: 08/10.

Film Review: The French Connection (18) (U.S.A. 1971) (English & French with English Subtitles) (Director: William Friedkin) Tuesday 19.06.2012 17:30 Filmhouse Screen One Edinburgh + Q&A with William Friedkin After the Film. 

I had got a ticket for this film, prior to it being announced that the director was going to come along after the screening for a Q&A, so that was a nice brucy bonus.

I see little point in reviewing the film, as what can be said except that it is a classic which has been borrowed from over and over again down the years. Seeing it for the first time in a cinema helped to appreciate how we composed it is. It is a very lean film, absolutely no extraneous scenes. It is also noted as one of the first classic cop films to have no moral grandstanding, it is solely about getting the job done, and being committed to getting the job done well, with occasional displays of bad behaviour that don't get too out of hand to compromise the job. Also not all of the cops live, not only that but the cop that dies at the end dies from the accidental shot of another officer. It showed a realness to policing and the fact that people in jobs where they have to work with the best of intentions, can still be as prone to mistakes as anyone else.

Rating (without hesitation): 10/10.

Friedkin in person appeared to be humble, approachable and welcoming, frank and realistic - began by saying no area was out of bouds for asking questions and gave frank views about working in the U.S. now, and the likes of working with Gene Hackman and how he had to approach working with him and how this was different to working with any other actor. There was quite a bit of discussion about the film 'Cruising' with Al Pacino, and he was asked to share his world view. I was particularly intrigued by this. He was very quick to respond and stated that most of human behaviour is absurd and also that every person has good and bad within them in varying degrees, and that this complexity of human character and behaviour is where his interest lies. It did strike me as similar to my own outlook and that I view most behaviour as absurd. I did wish the Q&A could last a bit longer - not often that gets said. He appeared very interesting company and was captivating to listen to.

Film Review: Jaws (Re-Release) (12A) (U.S.A. 1975/2012) (Director: Steven Spielberg) Sunday 17.06.2012, 15:40 The Cameo Cinema Screen One, Edinburgh 

I went to see this as knew it was being re-released and the 17th was my birthday, so thought it was a safe bet of a fum film to go and see on the day. I was also curious as I can only remember seeing the film once before, many years ago, and although I remember enjoying it, I did not think it was great, and could never quite grasp why it is seen as a classic - except that it was the first summer blockbuster.

The story strikes me as slight - there is essentially two battles in the film between the police and the local business community wanting to keep summer trade open ahead of concerns for health and safety, and the other battle being between the old working class salty sea dog played by Robert Shaw & Richard Dreyfuss's university educated scientist with his new fangled ways. The first battle is necessary to set up the story and the 2nd is resolved by Robert Shaw's character dying. Watching again it was clear to me that what I was most uncomfortable about was the interplay between the three male characters on the boat. This is what I recalled not enjoying, and watching again confirmed this. The behaviour seems so stereotypical masculine and the tension between Shaw & Dreyfuss resolved in such a simplistic fashion (Both had physical wounds - WoW!), that the set up appeared to be treated in an overly basic and simplistic fashion overall. It appeared to lack drama or any sense of mystery - not that it needed to have this, essentially I just did not buy the interaction as a small child and still don't, maybe it is just bad acting, though who am I to judge.

The new print does look good, though in my eyes it is still not a classic and has fairly big flaws.

Rating: 06/10.

Film Review: Being Elmo: A Puppeteer's Journey (U) (U.S.A. 2011) (Director: Constance Marks), Saturday 16.06.2012 16:20, Filmhouse Screen Three, Edinburgh. 

This was an engaging and uplifting look at the work of a Puppeteer who has developed one of the most beloved Puppet Character.

I had gone to see this with a complementary ticket that I had laid my hands on.
Had the ticket not been free, I may well not have gone to see this.
I am glad I saw it, though don't feel it was a  great documentary.

Rating: 05/10.  

Film Review: The Turin Horse (15) (Hungary/France/Germany/Switzerland/USA 2011) (Hungarian & German with English Subtitles) (Director: Bela Tarr), Saturday 16.06.2012 13:10, Filmhouse Screen Three, Edinburgh. 

Visually this film is ravishing in its beauty, every frame could be taken from the film and presented as a work of art. The tone, shadow, colour (although the film is in black and white) and crispness of image is continually stunning.

The quality of the visual image is just as well as the content of what happens and it's pacing is unremittingly grim, and given that it goes on for 2H 35Min, you need to make sure you have a comfortable seat. Essentially it is the final struggling last few days of a man and his adult daughter who live of the land in a barren landscape.

The music which accompanies the film uses a repeated pattern which feels Eastern European/Soviet. The music accompanies the image well and contributes to a sense of foreboding.

The image quality though does keep you watching and although the subject matter feels heavy, by sticking with the film I found that there is beauty to be seen in the economy of action and understood roles for the central characters to try to ensure their survival for as long as possible.

This is a film I would say would have to be seen in a Cinema, to assist with concentration and to assist by the scale to have a greater sense of its beauty. I would recommend, though not for people whose primary interest when going to the cinema is escapism.

Rating: 08/10.

Film Review: The Brood (18) (Canada 1979) (Director: David Cronenberg), Friday 15.06.2012 23:00, The Cameo Cinema Screen Two, Edinburgh. 

This I found to be a very interesting film about the destructive nature of jealousy, presumption, bitterness and rage.

The role/view of therapy within the film appears unclear as it appears to be something the community are suspicious of though it is also presented in a mystical/reverential way, with the notion that there are areas of functioning where therapists may understand where other lay people couldn't possibly. It also felt distinctly odd to see Oliver Reed in the therapist role, though he was able to display a degree of malevolence within the character which I feel added to uncertainty of motivation and therefore assisted suspense.

The idea that someone through their rage could produce beings that have a telepathic understanding of that rage to then be able to act upon it, although requiring a leap of faith, felt to be an ingenious although creepy 'mcguffin' catalyst for the developments within the film.

The film felt well paced and constructed with a drip feed of clues as to what was happening.

This is the earliest Cronenberg film I have seen so far (the other earliest is Videodrome) and this certainly encourages me to check out more of his early work. On the night I watched this after having just seen his latest effort 'Cosmopolis' and certainly found this to be the more enjoyable of the two.

Rating: 08/10.      

Film Review: Cosmopolis (15) (France/Canada/Portugal/Italy 2012) (Director: David Cronenberg), Friday 15.06.2012 20:50, The Cameo Cinema Screen Two, Edinburgh.

I had read a review of this film yesterday (Saturday) which made reference to the fact that the dialogue is very faithful to the source text, though with this the dialogue - at least in the first part of the film where the lead character is being driven across town in his stretch limo - is very literary and does not feel natural.

I agree with this completely and found this difficult - as in blocking to being able to try to immerse myself in the film - as it lead to feeling as though the characters were having non-conversations as the responses and statements made appeared to be detached, vague and obtuse, and for most of the characters a purposeful attempt to appear 'clever' and therefore not real. Although I found the film intriguing, it was very difficult to care about what were to happen to any of the characters portrayed.

It felt as though all characters who came to visit the lead in his car, except the visitor who came to have sex, were verbally masturbating. When this applies to most characters for a large section of the film, I find that it becomes very difficult to care as to what happens.

It also felt as though the film was trying to make a statement about how in society anomalies tend to get discarded/not mentioned, for the ease of understanding. While at the same time meaning that the understanding gained is only ever within the artificial confines created by the edited information the understanding is based upon. This is always a dangerous path due to the potential reaction of the unacknowledged/unrecognized. Although this is what I took from the film, and feel this is a valid facet of society for a film to focus upon, I feel as though many of the conversations within the film (it is very talkie) either distract or muddy this. Though perhaps that is part of what is being addressed, as the whole way the characters discuss matters where the artifice of the exchange is so 'performed' assist the characters to not see the anomalies.

The film kept my interest, though as I have said it was hard to care for characters who were either vacuous or self-obsessed. I feel it is in ways subtle and more to be admired than enjoyed.

After Reconsideration:
Rating: 07/10.    

Film Review: The Plague of the Zombies (12A) (U.K. 1966/2012) (Director: John Gilling), Tuesday 12.06.2012 21:00, The Cameo Cinema Screen Two, Edinburgh.

I was intrigued to see this as had read it described as one of Hammer Horror's most underrated Film. I have not seen any of the older Hammer films before and was curious as to why this one had been restored. 

The film concerns a squire who is in charge of a small village, who prior to fulfilling the role had spent time in Haiti. Local men are being turned into Zombies so as to become a slow but unstopping work force for the squire's tin mine. 

I did not recognize any of the actors. Some of the props and set design looked quite cheep, though this did not in any way diminish the enjoyment. It did not feel at all scary, though was an engaging tale of rescue. 

Rating: 06/10.    

Film Review: Headhunters (15) (Norway 2011) (Norwegian with English Subtitles) (Director: Morten Tyldum), Sunday 10.06.2012 13:15 Filmhouse Screen Three, Edinburgh

This was the second time I have seen this film at the cinema.
Last week I got two complementary tickets for the Filmhouse that had to be used before the end of June 2012. With already having purchased other tickets for this month, I thought I would treat myself to seeing this again.

I saw this the first time, largely due to knowing that it was made by the same production company behind the Swedish 'The Girl With The Dragon Tattoo' Trilogy, which I had greatly enjoyed. I have also in recent times enjoyed Danish and Swedish Television products - Wallander, The Killing, Borgen + after seeing Headhunters, The Bridge, as well as Swedish and Danish cinema offerings.

I have not read any of Jo Nesbo's books so cannot make any comparisons to the source text.

Some startles that were there on first viewing clearly were not going to work again, though it still offered a lot on the second view.

The film is well paced in terms of action and dialogue - subtitles are easy enough to keep up with to not be an issue. The film develops well with good internal logic in the telling of the story.

There are many moments of unexpected good dark humour.

The central couple are well performed with good development of character. The film makes good use of assumptions that are made within relationships and how though being honest with someone gives the opportunity for them to be genuinely supportive. Connected to this is also plot development about the destructive nature of vanity and it's connection with insecurity.

The 'villain' of the film is also portrayed well and it is refreshing to see such a protagonist as being played cold with no disclosed personal reasoning for their actions - for the male of the central couple, this is essentially irreverent.

The ending has elements that don't surprise and elements that do, though all felt quite satisfying.
Essentially it is a good romp. There is not anything about it that will cause it to linger for years as a classic, though it is a perfectly enjoyable tale.

Rating: 08/10.

Film Review: Sing Your Song (12A) (U.S.A. 2011) (Director: Susanne Rostock), Saturday 09.06.2012 15:35 Filmhouse Screen Two, Edinburgh

This is the documentary about Harry Belafonte, Activist, Singer & Actor.
I have had a fondness for Harry ever since I can first remember hearing the Banana Boat Song (Day-O) etc. I had become more intrigued by him since in recent years reading interviews with him where his activism was discussed.

I would regard this as a fascinating documentary for anyone who has an interest in the fight for civil rights, it is more than a music (or showbiz) documentary. Watching the film gives insights to the ongoing role that Harry has played in the civil rights movement since the 1950's in the U.S. and further afield.

He struck me as a eloquent, driven, humane, passionate and humble man. An example of the youthful vigor that can still be held by someone in their 80's.

Although what he has done may gain recognition via people watching this, I had the impression that while being involved in activism, his use of his 'name' was only being done to get people together and get things done, and not to further his public profile or reputation.

I was left feeling that he is an example that all should do what they can for the betterment of other's situations.

It also did not feel to be retrospective celebration, as he is clearly still continuing to do what he can in regard to advancing civil rights; a work in progress.    

I did feel the editing felt a bit disjointed/choppy, though by the end this issue felt diminished as the editing appeared to make emotional sense. I don't think I'm putting this well, and can probably best be understood if view the film.

A satisfying view.

Rating: 08/10.

Film Review: Tales of the Night (U) (France 2011) (French with English Subtitles) (Director: Michel Ocelot), Tuesday 05.06.2012, 13:45 Filmhouse Screen One, Edinburgh

This was a joyous film, full of adventure, innocence, and good simple storytelling. 

This is animation of a very traditional kind, with heavy use of shadow puppet style. 

It uses a simple device of three people meeting in a now disused cinema, to take turns in offering up stories to tell/create. Six tales are covered covering differing areas of the globe and history. 

The use of colour is quite beautiful - this is unlike animation being done elsewhere in these times, and really has to be seen to be believed. 

It caused me to be reminded of something that I found quite dissonant. Due to the Portmanteau style of several short stories and the use of shadow puppet imagery, I had the Christmas Special of the League of Gentlemen brought to mind, particularly the part where the old bed-ridden vet recounts the experience of his young career. 

There are elements of humour in this, as well as quick-wittedness, romance, endeavor, fairness and reciprocity among other aspects of thought/emotion/living/functioning. I think that even if children cannot yet read enough to  keep up with the story, they would be able to get a lot from it due to the quality of the animation, and the universality and appropriateness of the tales being told. There is also a lot for adults to get from it as well - I would expect that the beauty of the image would work very well for adults, and I would also expect an appreciation for the simplicity and economy of the storytelling as well as its moral undercurrents. 

A Gem!

Rating: 07/10 

Film Review:Death Watch (15) (France/West Germany/U.K. 1980) (Director: Bertrand Tavernier), Saturday 02.06.2012, 13:20Filmhouse Screen Two, Edinburgh.  

This film intrigued me due to it featuring a performance from Harvey Keitel and being filmed in Glasgow. Particularly as it is a Glasgow before I ever saw it, the first time I went there was 1988. Further little curious facts like it containing an early performance from Robbie Coltrane and it being an early critique of the notion of 'Reality Television' further contributed to my reasoning for going to view this.

It appeared to be made on a small budget, which is no bad thing, though to examine the ideas it was presenting, it felt to constrained.

(PLOT SPOILER)

There are elements that felt to be engaging, though the piece as a whole felt muddled.
The central person who is meant to be getting filmed for this reality television programme, is meant to be of interest as they are stated as being terminally ill.
It is revealed before the end that this was a ploy to effect their behaviour for the purposes of filming.
This could have left interesting moral questions about manipulation for the purpose of entertainment. I felt the strength or clarity of presentation of such questions was muddied by Harvey Keitel's character, who at the start of the film has had a camera fitted in his head for ease of filming without suspicion, goes blind due to having been exposed to darkness for moments too long.

I was left feeling quite unsure as to what was being attempted to be said, though was fairly sure that there was some question or situation intended to be presented for contemplation.  

It was an interesting watch, though I felt it was not particularly enjoyable & I would feel it to be hard to recommend.

Rating: 04/10.

Film Review:
Prometheus 3D (15) (U.S.A. 2012) (Director: Ridley Scott), Friday 01.06.2012 00:01 VUE Screen Three, Omni Centre, Edinburgh.
Prometheus 2D (15) (U.S.A. 2012) (Director: Ridley Scott), Sunday 03.06.2012 15:40 Cameo Screen One, Edinburgh.

Firstly to say that the film looks better in 2D, the dimming caused by the 3D glasses makes it harder to make out some of the detail. I would not recommend viewing it in 3D.

Some of the negative reaction I have read of the film online, I believe the be at least in part due to ridiculously high expectations. From what I'm aware of, the original Alien film has gained in stature over years since release and was not treated initially as the classic it is now seen as. I also sense that many were wanting another 'Alien' film from Ridley and were not really watching what was in front of them. Having said this, I don't see this as a great film by any means.

I have read about an apparent strong christian element running through the film. I have to disagree with this. I think that a character within a film having Christian faith does not make the film Christian. Though this can and does lead to unnecessary speculation and assumptions doe to the presence of 'icons'.

I think there are very clear plot and character similarities between this and the other alien films - strong female leads - which I am all for, androids - again getting ripped to bits - Why? The theme of corporate interests of power, versus scientific or humane interests was again central to the plot, as in the other films. The films do come to appear repetitive due to the habits of the films that have come after the original.

I find the android character intriguing as to me it was quite clear that the character was manipulative (and manipulated) and with this appeared to show a degree of emotional engagement, which in theory should not be possible. It leaves the question of whether the character is solely an 'android', or is there some other element to him? I don't know whether it is necessary to know or whether even the films makers know, or is a 'noir' element - there for ensuring questions remain and a degree of uncertainty or mystery. I do also feel that despite this character appearing well performed, that to have an android appear in Alien, Aliens, Resurrection and now Prometheus, that this comes to appear lazy. Essentially as this is not a documentary, characters are to a degree plot devices and questions have to be raised regarding the repeated use of such characters.

I was glad that H.R. Giger was involved in the production again, and this was evident in the design which was in my mind a work of art. The entire terrain and vehicle landscape along with the visual representation of what technology can do in the realm of this cinematic universe, was distinctive and at times jaw droppingly beautiful.

I feel the film answered to a degree the questions about how the 'alien' came to be created & what the 'space jockey' was. I suspect for some it was not answered in a way they would want, due to it not meeting their own presumptions. I feel that within the context of the 'Alien' universe this made enough sense to feel to be okay, not great, though not a complete botch. The film will always have a problem, that it will inevitably be compared to 'Alien', and it would always find it very hard to compare to that. By this I am not suggesting it is cut any slack, just mealy reflecting that it was always going to be a difficult to satisfy when comparisons are going to be made to a definitive classic.

Bottom line, I found it to be visually inventive and beautiful to watch particularly in 2D, though the story and development of the film felt unsubtle and lacked satisfaction.

To put it succinctly, I know I could always watch 'Alien' and enjoy it, Prometheus will never attain a guarantee of enjoyment - it will always have niggles.

Rating: 05/10
(Alien: 10/10)
(Aliens: 04/10)
(Alien 3: 07/10)
(Alien: Resurrection: 05/10)