*Even though this is not a film review as such, I should say there are MASSIVE SPOILERS contained in this article, so please don’t read any further if you have not yet seen Prometheus.*
I’m not going to write a traditional review stating what’s good and bad about this film. For people who only go into these things wanting explanation, cohesive story arcs and other surface-thin things, there’s probably something big they’re missing. Imagery, or just simple well-orchestrated moments, is what makes or breaks a film for me. In this way, Prometheus is almost certainly about pieces, and there are loads of brilliant ones. Here are those I liked.
1.David, the onboard android, and the initial scenes in which he’s casually and peacefully strolling about the ship while everyone sleeps, bouncing a ball, styling his hair and watching films, is nice. He has a great-looking headset with a glowing yellow visor, and some sort of green liquid he drinks: both good.
2.Everything on the ship is metallic and chrome and glittery, from pool table balls to drinking goblets to bottles of booze.
3.Two of the crew encounter some slippery, vaginal-mouthed snakes that shiver and hiss and spread wide their head flaps, and the rubbery, blue-white texture of them look a lot like Haribou sweets and you sort of want to chew on them. Also, I could imagine it’d be quite pleasing to put my finger down the tight little tube of the thing’s mouth and feel its body constrict around it, maybe. Then just pop it back out.
4.There’s a bit where David asks if Meredith would like a cup of tea. In a nightmare space world, such a domestic familiarity like that just made me sigh, pleased.
5.The scenery and set furniture is all glutinous and sculpted and soft and blobby and militant. Tulip-shaped vases can be cracked open to spill their loot of green glass and black webbed claws which, in turn, crack open to spill yet more writhing fluids and gelatinous little black beads of death. The control panel in one of the rooms also has, instead of buttons, squidgy breast-like moulds that quiver when groped and you can imagine the satisfying sensation of pressing them.
6.The race of giants or ‘Engineers’, particularly the second one fully clad in his armoured suit, have sculpted alabaster bodies and a beautifully child-like glee in their smooth, almost-human faces which makes them incredibly attractive. Even more so when the second one gets angry and just starts crushing and ripping up his human creations.
7.We get to meet the first face hugger, who is massive. It clashes with the Engineer, embroiling him in its tentacles, and it’s amazing to watch the giant being almost folded, origami-style, mid-air, pulled into the gnashing, yet more vaginal, mouths of the creature, who then shoots out several reedier tentacles and eventually gets its phallic tube down the giant’s oesophagus, before bearing down on him, covering him completely, and relaxing so you can see its ridged spine, a big fleshy cloak.
8.The bit when Elizabeth carefully places David’s trusting, smiling upturned head into a duffel bag is lovely.
9.The first alien is quite coquettishly nude model-esque when born, her cocked thigh and splayed fingers the subject of a sexily sweeping camera. I started hearing this.