"Yeah! Take that, Sir Ridley Scott!" seems to be the gist. "If you’re so smart, with your conceptually audacious two-hour epic about mankind questing beyond the stars in search of a face-to-face encounter with the divine, how come Charlize Theron and Noomi Rapace don’t run sideways to get out of the way of that crashing spaceship?"
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How come? Who cares? Having now seen Prometheus twice (and enjoyed it even more the second time than I did the first) I can confirm that the fact neither Theron nor Rapace thinks to run sideways during an action sequence predicated on them running forwards does not render the film worthless – and anyone who finds themselves getting worked up about it is making some fairly basic mistakes about how to enjoy blockbuster cinema.
Despite its faults, which are fairly mundane as these things go,Prometheus is a film that demands to be puzzled over, marveled at, even dreamed about. Some of the dialogue might not stand up to scrutiny, but my word, the ideas do. You may already be aware that fantasy writer Adrian Bott has, fairly convincingly, mapped the film's underlying mythology onto the Dying God archetype described by James George Frazer in his seminal study of religion and folklore, The Golden Bough. I don't recall anyone doing that with Avengers Assemble.
I suspect that with Prometheus you’re either on board or you’re not, and no amount of coaxing will convince the moaners to go back and work out what they’ve missed. But I wouldn’t be too surprised if, in 30 years or so, they’re being quoted at the top of an article like this one.
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