Oh, actually, here's one more: if the magical medical device is only set to operate on male patients (Jesus, really?), why did Vickers...no, actually, I'll just leave it at what the fuck, space sexism?
Since infecting Holloway with the goo doesn't seem to serve any reasonable medical purpose for Weyland, I think David may just have done that for the fuck of it.
But with a script that raises about a hundred different ideas - and resolves precisely zero of those ideas - there's bound to be a handful of themes that you COULD read into the film. There's bound to be some level of profundity that COULD be inferred from the final product, since the final product leaves every single tangential rambling or thought that it contemplates completely unresolved. Conversely, there are a far greater number of moments which completely collapse on further analysis. There's a monstrous amount of bullshit that the above critique chooses to completely ignore.
It's only configured for Weyland.
When the alien race first explored the Alpha Quadrant there had been no humanoid-based life other than themselves, and so they seeded various planets with their DNA to create a legacy of their existence after they had gone. The alien ends its message by saying that it hopes that the knowledge of a common origin will help produce peace.
Forget Prometheus, when do we get the Lawrence of Arabia remake with Michael Fassbender?
funded by a trillionnaire with naught to lose
...aging proprietor of a local corner market.
You had this viral campaign with Guy Pearce, Noomi Rapace, and Michael Fassbender in character that gave some insight into the movie's backstory: Peter Weyland's 2023 TED Talk, Dr. Elizabeth Shaw's solicitation for the the trip, the David commercial.
I think about viral all the time, and it all boils down to additional content. The ideal is something between two and four minutes, because people have the attention span online long enough to grab their coffee at Starbucks. If it's over five minutes and you're watching it at work, you feel indulgent. So the first rule is keep it bite-sized, and the second rule is don't think about it in terms of it being viral or marketing the movie.
What they did with The Avengers was genius — because at the end of each Marvel film, Iron Man, The Incredible Hulk, Thor, Captain America: The First Avenger, they had an extra scene, which linked the films together — Nick Fury shows up in the first Iron Man movie, Tony Stark shows up in the Hulk movie, Agent Coulson shows up in the second Iron Man movie, and so on. That was viral six years later. You're finding out about the team, what the MacGuffin is going to be, and it's all coming together. Genius. So I was thinking about how that method and how those videos would be really effective at character introduction. So you meet David the robot, without spoiling it. One of the things I was thinking of for that were those iPhone commercials. So I talked to [executive producer] Michael Ellenberg, "Can we do a commercial for a robot? If we have commercials for iPhones, wouldn't they have commercials for robots?"
Scott: For all intents and purposes this is very loosely a prequel, very, and then you say “But how did that ship evolve in the first Alien?” Then I would say “Actually he’s one of the group that had gone off and his cargo had gotten out of control,” because he was heading somewhere else and it got out of control and actually he had died in the process and that would be the story there. That ship happened to be a brother to the ship that you see that comes out of the ground at the end. They are roughly of the same period give or take a couple hundred years, right?
“But how did that ship evolve in the first Alien?” Then I would say “Actually he’s one of the group that had gone off and his cargo had gotten out of control,” because he was heading somewhere else and it got out of control and actually he had died in the process and that would be the story there. That ship happened to be a brother to the ship that you see that comes out of the ground at the end. They are roughly of the same period give or take a couple hundred years, right?
There was definitely a gap between the movie I was expecting this to be and the movie I ended up watching. Which was OK with me — but I was actually primed to digest a bigger mess of philosophical gobbledygook, based on people's initial reactions. That Tree of Life/Discovery Channel opening, the Chariots of the Gods setup — that's a misdirect. It's a monster movie! It's a fantastic monster movie, too — I'm not mad at all. I think it uses the our-search-for-the-Creator mumbo-jumbo to make you believe you're watching something slow and meditative and then slips the death-eel inside your faceplate.
But my anxiety over whether or not I'll like it has become so acute as to make me ill. Today I took to bed. May see it Monday. In 2D.
With a title like Cowboys and Aliens, Jon Favreau’s movie seemed destined to be either a big, silly mess or a big, crazy good time. Somehow Favreau dodged the obvious and instead delivered a movie that’s a big, empty bore.
That’s the last thing I expected from Cowboys and Aliens, but thirty or forty minutes in it became clear I didn’t care about a single thing happening on screen. None of the characters clicked, nothing felt innovative or interesting, and the story was in no way compelling. To be fair, I didn’t hate the film - the actors are amiable enough and cinematographer Matthew Libatique’s photography is often stunningly beautiful - but I in no way liked it. I did not care.
How is that even possible? The film has a murderer’s row of cool, fun actors - Daniel Craig as a high plains drifter who has lost his memories and gained a mysterious alien gadget on his arm, Harrison Ford actually present in the moment as a cold-hearted cattle baron, Walton Goggins as a bandit, Clancy Brown as a tough-as-nails preacher, Olivia Wilde as a beautiful and dangerous mystery woman - and while most of them are individually watchable, they don’t add up to much of anything.
(What a strange thought! --- it's just occurred to me that Prometheus might just be a remake and not a prequel. It doesn't make the movie any better, mind you, just curious about producer motivations.)
The Kessel Run was one of the most heavily used smuggling routes in the Galactic Empire. Han Solo claimed that his Millennium Falcon "made the Kessel Run in less than twelve parsecs". A parsec was a unit of distance, not time. Solo was not referring directly to his ship's speed when he made this claim. Instead, he was referring to the shorter route he was able to travel by skirting the nearby Maw black hole cluster, thus making the run in under the standard distance.
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