My Week 50: Prometheus

Prometheus (Ridley Scott, 2012)
How exhilarating to see such an accomplishment on the big screen in excellent 3D (perhaps surpassing "Hugo" as the most impressive since "Resident Evil: Afterlife" and certainly the most immersive since "Avatar"), and how refreshing to see it playing in the extreme mainstream despite its merely minor and fleeting passes at attempting to carry "common audiences" through its thoroughly bold journey. With atmospheric echoes of the first act of Żuławski's incredible "On the Silver Globe", this expertly designed and superbly acted vision of innovative future technology and deeply intelligent sci-fi fantasy (this decade's "Minority Report"?) coats the viewer in a persistent sweat and doesn't let up until well after the credits have rolled. Exemplary quality is at awe-inspiring work in every technical and creative aspect from open to close, including astoundingly intricate and signature production design (including some yonic imagery surely geared to balance the notoriously phallic nature of "Alien") mind-blowingly original visual effects that flesh out the all-around breathtaking visuals, and an ensemble full of solid performances topped of course by Michael Fassbender's endearing yet eerie naïveté as the android David. I can see where the disconnect might be with many who are emerging disappointed with the technically ultra-cohesive picture. Where, say, "2001: A Space Odyssey" deals with similar questions about humanity using similar elements, it can come across as mysterious yet is directly applicable to any perception of the reality we explicitly relate to because we live it every day. The unanswered questions become satisfying through the inference of a world we are already familiar with. Contrarily, "Prometheus" fantasizes a creation theory practically implausible by today's science, its answers reliant on forms of narrative exposition. Certain aspects are up for interpretation, but only relative to the world they exist in, making the mystery a potential frustration with finite right and wrong ways of looking at it. Still, the film refrains from overreaching as it could so easily have done considering its concept, choosing to thrive on a more "Star Trek"-esque vibe that wisely sticks to a few primary locations in one general area as opposed to planet-hopping or developing connected Earth-based story threads, and ultimately the remaining mystery works. In short, unless you prefer your sci-fi with giant exploding semitruck-bots and the like, see "Prometheus" right now. It basically devoured my soul and vomited it back in to my brain through my eyeballs. In a good way.

Total: 1

Rewatches (1): Rocky II (Stallone, 1979)

Episodic Television (1): Community (Introduction to Film - Interpretive Dance)
- Finally do I give the cult sitcom sensation "Community" the ol' college try (beyond the spare lackluster episodes I'd seen when it premiered). I cannot say I'm loving it in its first season (from what I hear it becomes genre-bendingly excellent later) but I can say that although the self-awareness isn't as clever as it thinks it is I do appreciate some of the technical aspects of the writing, Chevy Chase's Pierce is consistently funny (not to say other characters are without their moments) and Alison Brie is possibly the hottest thing on the planet.

Episodic Television Rewatches (4): Parks & Recreation (Flu Season; The Debate), 30 Rock (St. Valentine's Day - Argus), Futurama (I, Roommate; Brannigan, Begin Again; A Bicyclops Built for Two; Amazon Women in the Mood; Bendin' in the Wind; Godfellas; Future Stock; Love & Rocket; Spanish Fry; Rebirth; Attack of the Killer App; The Duh-Vinci Code; Reincarnation), Community (Pilot; Spanish 101)

NIFF Screening Committee films I'm not allowed to talk about yet: 4

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