Prometheus: Critic Reviews

While I was completely engrossed in 'Prometheus', I felt a tug-of-war going on between the cerebral and visceral elements, right up to the finale.

Like "Alien," the new movie derives its appeal not only from stunning, otherworldly imagery but also from the central performances tasked with reacting to it.

There's definite mastery here, but it's hardly a masterpiece.

"Prometheus" damn near lives up to the unsustainable hype, at least at the level of cinematography, production design, special effects and pure wow factor.

Prometheus is more interested in piling on big questions than in answering them. It's deep without being particularly smart, although the dazzling design and special effects keep you from noticing that basic flaw until at least an hour in.

Prometheus is a prequel that works as a stand-alone but offers added benefits to those familiar with the Alien series.

It does supply enough visual spectacle, tense action and sticky, slithery monster attacks to hit the spot with thrill-seeking audiences worldwide.

The paranoia becomes palpable, and a lot of its impact comes from how dramatic and dazzlingly seamless the special effects are.

I saw Prometheus without my trusty guide-wife next to me to describe the creepy stuff yet watched every second of the movie. And not once did I jump out of my skin.

The ending isn't squishy scary or deeply satisfying. Bummer. Otherwise, Prometheus kicks ass so hard and often that it's impossible not to be thrilled by it.

Brilliant. Epic. Haunting. Grotesque. Great.

Unlike any of the sequels between it and the original, Prometheus is a horror movie first and foremost, gnawing at subconscious terrors even as your conscious mind attempts to bat it away.

Making up for the expected nature of some of the film's plot twists is Arthur Max's spooky, H.R. Giger-influenced production design, Dariusz Wolski's fluid cinematography, as well as Scott's moment-to-moment storytelling skill.

The mishmash of grotesque body-horror and chin-stroking existentialism does not always make for the most coherent movie, but it is at least an entertaining one and certainly no black mark on the franchise.

Rather than trying to reinvent the franchise with new tricks, "Prometheus" wants to return us to that uncertain terror that loomed over the 1979 original.

Prometheus, as both a response to Alien and its own attempts at philosophical and spiritual investigations, ended up filling in holes that simply were not mandatory to have filled.

The movie wasn't giving my brain much of a workout, but my eyes got a nice buzz. Prometheus is straight-up gorgeous...

Insulting lip service to 2001 notwithstanding, Prometheus shocks and awes with more than sufficient technical bravura. If only it was as smart as it clearly thinks it is.

Artfully designed with special effects that border on the elegant-there's no other way to put it-"Prometheus" is a visual delight.

There's a lot of college dorm philosophical mumbo jumbo on top but it all really boils down to, "Man seeks his creator/makes contact/discovers he is a total jerk."

Never quite matching Alien or Aliens for emotional authenticity - but definitely holding you in tow until the final moments. Ridley Scott isn't much for illustrating humanity, but he sure as hell knows how to craft aliens.

Very few films can create a genuine sense of wonder and discovery, and Prometheus manages it for its entire 124 minute running time ... almost entirely a sensory experience.

Prometheus is a welcome return to form for Ridley Scott -- delivering a fascinating sci-fi storyline, gorgeous 3D visuals, and competent filmmaking choices.

It isn't perfect, but Prometheus is a thoroughly entertaining summer blockbuster that is a cut above the rest due to an amazing cast and Ridley Scott, who re-establishes himself as one of our greatest world building filmmakers.

The film [has] a kind of "been there, done that" feeling.