Les Miserables (Review)

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Greetings one, greetings all!

Tom Hooper's Les Miserables was the film that I had most eagerly anticipated this Christmas, and I am sorry to say that this epic melodrama is a disappointment. Some may even call it a major disappointment, but I shall not for fear of overstating. 

This film is good, but with the director's track record, including the marvelously grand yet intimately passionate The King's Speech, and a supposedly stellar cast - the film is expected to be nothing short of Great. If you are to create a hype of hysteric proportions, then you are to live up to such hype - falling short is feeble. As such, this film becomes one that is either loved or hated. For me, there are many elements that I cherish, but the big picture, whilst picturesque, is neither compelling nor involving.

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Anne Hathaway is the film's shining star; her raw, gritty and pain-ridden rendition of I dreamed a dream is most simply perfect. Her portrayal of Fantine is superbly nuanced; she is entirely believable as a woman pushed into a dire and desperate corner of life. Her circumstances are hopeless, and she is hateful, but the vulnerability in her eyes hint a subtle sweetness that has been so forcefully robbed. Unlike many of her fellow cast-mates, Hathaway is able to draw the audience's empathy - keeping us emotionally involved and interested. This is a passionate performance deserving of an Oscar nod.

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Samantha Barks is another undeniably bright spot; she has portrayed Eponine on Broadway, and here she does it again with gusto and perfect pitch. When she sings On My Own in the pouring rain, we see a stubborn and somewhat naive young girl hopelessly in love; such sentiment can be sickening, however, we  empathise with the despair shown in her eyes and mourn for her unrequited passion; she can only ever love him on her own. A great scene in the rain is never tired - the pathetic fallacy is only pathetic when the tears are unnecessary.

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Eddie Redmayne, who was wonderfully convincing and likable as Marilyn's love-struck beau in My Week With Marilyn, brings yet another respectable performance. His deep, strong voice and twinkling eyes do him credit; his solo near the film's denouement is both captivating and heart-wrenching. This number captures the noble spirit of sacrifice and bravery of the men and women whose blood dyed the streets of Paris during the inhumane French Revolution. Unfortunately, the overly condensed plot does not allow this character to become three-dimensional; what we adore are but shades of a great character.

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Helena Bonham Carter and Sacha Baron Cohen are magnificently realised as the tricksters; the film's comic relief gives true insight to the harshness of life in the Parisian slums; they dress up and they dress down, because being themselves provides absolutely nothing. Carter and Cohen know that as they nail the slapstick into our heads, their message -although delivered in stylishly hilarious fashion- is painted with greater clarity. It truly is a dog eat dog world out there, which is why we must escape to the theatre now and again!

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Apart from touching performances from a few child stars, the delivery of the other cast members fell short so I shan't utilise much more of your time.  

Hugh Jackman is interesting when he is off-pitch as a thief in the night, a dog on the run, but after his soul is redeemed and he morphs into a saintly mayor, the intrigue slowly wafts and eventually vanishes. Russell Crowe *sigh* has a character who is entirely convicted to his cause, I say convicted because his life is chained to it. Yet his eyes are unable to draw any empathy from me, and that is a sign of an unfulfilled delivery.

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The love story between Marius (Redmayne) and Cosette (Amanda Seyfried), not pronounced corset - her mother, Fantine, was not a prostitute by choice - is rushed, thinly scripted and unbelievable. It also distracts us from the emotional aftermath of the barricade massacre; I assure you, neither Seyfried's smile nor her voice could awaken a man from deep, dark depression. This love story is supposed to be the life-blood of the film - the stream that delivers us to a serene and satisfying ending. However, if the audience is emotionally detached and oblivious to this union, then the sole of the film has crumpled and all we have are fragments of greatness.

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 Tom Hooper gives the actors, especially Hugh Jackman, effective close-ups, and is able to capture the grandness of the French Revolution and the brutality of the consequential blood-shed. Even so, he is unable to accentuate and connect the human tragedies that are the seams and soul of this story. Dissimilar to great musical films such as Moulin Rouge! and Chicago!, Les Miserables lacks pizzazz, flair, and a warm, beating heart. I commend Hooper for his effort in constructing a dark, grim and gritty musical, but it seems that execution has fallen short of his ambition. His heightened sense of realism, reflected in the authentically marvelous cinematography and set-design, has somehow acted as a veil - barring the audience from peering into this intricate abyss.

P.S. Merry Christmas and Happy New Year.

I dedicate this to Amy, because she inspired the corset and pathetic fallacy jabs, and the person who went to see the film with me; with them, hopefully, I shall not become one of Les Miserables.

Pitch Perfect (2012 Review)

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Not so pitch perfect, but it sure is formula-perfect.

This film left me feeling underwhelmed and disappointed. I was not expecting phenomenal plot pivots or profound epiphanies, but this film was to be my refreshment - a palate cleanser before I view and review a string of serious dramas. This film is tired and uninspired; I was expecting a burst of energy, but the film's restlessness is just entirely draining. I'm starting to think that desires and disappointment are complementary, then again, such is life!

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Anna Kendrick is adorable, sweet and somewhat edgy, so naturally, she ends up with a perfectly dull guy.

The choreography and A Capella are good; some of the harmonies and vocal remixes are actually quite interesting and pleasing, but there is nothing new. The film plays it safe; there is no WOW factor and there are not enough laughs in the film to make up for its pitfalls. We all knew that the plot would be predictable, so I shall not discuss that, but I have to discredit the casting of the leading man. He lacks both the presence and attractiveness to stand as the protagonist's love interest, and in general, he is irritating and not very believable or lovable as a quirky geek.

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Ahem, aside from his sculptured core, he also has a smooth British accent; perhaps the film, contrary to its myopic vision, is endeavouring to embrace "inner beauty". My advice: don't make inner beauty compete with THAT!

To make matters worse, the script introduces an extremely attractive and arrogant British DJ as a possible love-interest - making our *leading man* seem all the more feeble. A leading man that does not have the empathy or sympathy of the audience is indeed a useless figure. Honestly, I know that she is fated to finish his duet, but every time the British DJ speaks or flashes his abdominal muscles the vision of beautiful DJ babies flashes across my mind. Thankfully, the other cast members are at least bearable if not likable.

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"I'm horizontal running." Believe it or not, this is not as humorous as her "now, vertical running!"

In the midst of this mediocre mess, the film finds its saving grace in the "fat heart" of Rebel Wilson. She is wildly refreshing and shockingly entertaining, I cherish every moment of her screen time. With her perfect comic timing and radiant smile, she injects the perfect balance of attitude, pizzazz and -when appropriate- sincerity into her performance, and we can't help but fall in love with her. Without Fat Amy, I would give this film a rating below 0, but with her it's a 6. She's a 12! I'd finish her like a cheesecake. 

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Beauty is pain.

"You call yourself 'Fat Amy'?"—"Yeah, so tweaked bitches like you don't do it behind my back!" She is raucous, overtly truthful and is stunningly compelling. Just in case I have yet to adequately express it, she dominates every scene she is in; it's as though she and Angelina had an uninterrupted phone call about scene-stealing. Although humour is central to her role, Wilson's earnest portrayal ensures that the character is not just a wacky caricature. So whilst the plot never thickens, her characterisation surely does; she knocks the shallow vision of the film, and reminds us of the importance of embracing your "fat heart". 

P.S. Superficial or not, I still love y'all.

Stoker: stirring intrigue

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Every piece of promotional material from this film has intrigued me, this Gothic psychological thriller has me wrapped around its bloody little fingers. I love a twisted murder-mystery, and this one is built around a rather dark, nuanced and somewhat hateful mother-daughter relationship. In an intense monologue, Nicole Kidman pierces my tainted soul with her sharp blue eyes and raspy, cutting words, and yet, Mia Wasikowska stands in silence - her blank expression concealing the vulnerability that lies beneath.

You were supposed to love me, weren't you?

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Then there is the enigmatic uncle Matthew Goode, and his presence twists things a little, his niece is only a child, and he can take her hands and lead a rather treacherous path. After all, she is "of age". 

Hooked? Fortunately, here is a promo, courtesy of Empire. 

P.S. I am so pleased to see Jacki Weaver (Animal Kingdom); she is rather superb, even when she is not the sociopath. 

P!nk - Try (MV)

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Check out P!nk's new music video, it captures the struggles of *relationships* in two beautiful bodies and a physically intense and compelling, contemporary dance. Even though it's nothing new, I always appreciate the use of splashed paint as vividly painful wounds and deep scars. 

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Flying chairs, crashing tables and chiselled abdominal muscles never go amiss, and neither do the marvellous, endless plains - mounted against the backdrop of a divine mountainous range. It's an ever-rocky trajectory and in the words of P!nk:

Where there is desire
There is gonna be a flame
Where there is a flame
Someone's bound to get burned
But just because it burns
Doesn't mean you're gonna die
You've gotta get up and try

It's no Shakespearean sonnet, but it is the truth about Love. That is why we all love P!nk, she is a raw, real talent, and she tells it like it is - those fairy tales are full of ... , and it's compromise that moves us along. MY god, Is this a P!nk post, or a Maroon Five quotes' sess!? 

P.S. She Will Be Loved, and I love y'all. =)

Hitchcock 2012 (Trailer)

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My, my, many months have past since I last wrote, Winter has departed, Spring has arrived - officially, anyway - and have I missed you all! I have been feeling rather uninspired, but at long last, inspiration - in the form of a trailer - has struck!

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Of his many masterpieces, I have only seen Dial M for Murder, Rear Window, Rebecca and Psycho, and from just this small sample space, I worship the masterful artistry of the visionary that is Alfred Hitchcock. The scissors scene from Dial M for Murder still resonates vividly in me. Perhaps, most famous of all Hitchcock features is Psycho.  Produced on a budget of less than a million, the film went on to gross a whooping fifty million; if that is not considered pure brilliance, I truly don't know what is.

"You shouldn't wait till half-way through, kill her off after thirty minutes."

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So, naturally, when it came time to make a Hitchcock biopic, it's only logical to build it around the production of Psycho; and who else, but the godly Anthony Hopkins, could bring the skewed gravitas required for the title role? Then there is Hitchcock's other-half, an eccentric woman crucial to both his personal and professional life. This is potentially problematic, we need someone who can breathe life into this equally quirky half and match the screen presence of Sir Hopkins, oh I know - Dame Helen Mirren! Now, wasn't that easy!? It's amazing when Hollywood illustrates some common sense.

And sometimes... that is all the inspiration that I need.

P.S. Expect reviews, especially one of Looper. Promise. Love y'all.

Gangnam style... anytime, anywhere.

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Greetings readers!

I know I have been neglectful for quite a while, but here is a little present to cheer you up!

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To think of it, I'm hardly in the video. Let's hope my *charismatic and compelling* screen presence compensates for this, you know, Angelina Jolie - Girl Interrupted style.

Watch it. *Like* it (even if you do not). Share it! You can be charitable without having to thrust in an elevator. I would love to say that I strictly reserve those moves for the cause of charitable education, but you know that is clearly not the case. Anyway, let's spread the LOVE and HOPE. Sentimentality can't be taken to the bank, but viral videos can!

Love y'all.

P.S. Will be attacking you with a series of cinematic posts VERY SOON. Again, Love y'all.

Eh... sexy lady...

The Bourne Legacy (Review)

I came into The Bourne Legacy with essentially no Bourne knowledge, and I think that benefited the viewing experience greatly. Confusion leads to intrigue, I say.

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From the trailer, I deduced that Legacy would be a fine action film, and I was correct. It's easy to be an entertaining action film, but to actually be involving, well, that's a whole other dimension. Once a director ticks that box, the film morphs into a good thriller, and that is my benchmark. 

Although I did not know much about the Bourne series, I was very aware of it, especially because many critics compared it to Salt. Apparently Bourne has the intrigue that Salt lacks; I cannot imagine why anyone would agree, perhaps my lenses are slightly unfocused, but let's roll with it. This might be true for the earlier films, but it surely is not the case with Legacy.

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The beginning of the film is quite intriguing, especially if this is your first Bourne experience. The program itself is quite fascinating, as is the whole conspiracy plot. I have to say, the politics of it all is not dull. I credit this to Edward Norton's emotive blue eyes and authoritative presence. Hollywood is getting it right these days; you do not give expository roles to incompetent actors, you give them to the veterans because they can make something of it. 

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Speaking of talent, Jeremy Renner and Rachel Weisz are charismatic and magnetic as our leads. Renner has a sharp physique and great acting chops. He also has a radiant and charming smile, which serves to boost his likability. He oozes resourcefulness, and no matter what plan he formulates or how he escapes inescapable scenarios, he is entirely believable. Rachel Weisz projects an air of wide-eyed credulity, which is fitting for a vulnerable, geeky biologist on the run. However, her innocent eyes hint a fiery shade, and as confirmed by Renner's character, she is a warrior. 

Renner slides down the wall of a narrow alley-way, yet another memorable action sequence.

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The film runs for about 135 minutes. The intriguing foundation, built at the start, launches the characters into a full-blown chase. This long chase grants us beautiful scenery, ranging from the icy  summits of Alaska to expansive, aerial views of a hectic Manila at night. The film has a massive budget, and it shows! There is a spectacular sequence where Renner wrestles with a hungry wolf, and an intense shooting spree where Weisz's character is inches from death. These scenes are well-shot, with clear strokes and good spatial coherence. The same applies with the succinct close combat scenes, although there is nothing particularly memorable about Renner's fatal strikes.

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Of course, after the parameters have been defined, there is no intrigue left. It is just a big budget chase scene, but it's an entertaining one. I'm giving it 7/10 (rounded to the nearest whole number). 

P.S. I am writing a piece for Salt soon, no promises, so watch out! I will also be stalking Jeremy Renner via his films, so you will hear more about this charming lad. Love y'all.

The Sapphires (review)

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I absolutely see why they term it the Aussie Dreamgirls, but it truly is something else entirely, and in many ways - it is deeper and darker than its American predecessor. 

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The Sapphires is a sassy, energetic and charming little musical grounded by an endearing cast of raw, earthy performances. Chris O'Dowd, the quirky cop from Bridesmaids, gives us a charismatic and soulful leading man. Sure he's a little drunk here and there, but it all adds to the allure, and his eccentric character keeps us laughing hysterically. O'Dowd's natural delivery heightens the film's liveliness, and even though the script is bumpy - he hustles the story along quite smoothly; and to complete his dynamic duet is the fiery Deborah Mailman.

 He calls her the Mama Bear, and boy does she live up to it. With her wildly precise verbal jabs and commanding presence, she is utterly refreshing, but her brilliance extends beyond this. The moments that I cherish most are the quiet moments of her grief, and gut-wrenching pain. She's a loose cannon with a broken soul and a big heart, and we adore her.

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Needless to say, Jessica Mauboy, with her exuberant smile and flawless vocals, is the musical's focal point. Her inspired rendition of Who's Lovin' You deserves a standing ovation. To think of it, the film has seamless musical coherence, and every number, may it be soul or jazz, adds to the audience's enjoyment. 

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This film is a real crowd-pleaser, and ultimately a feel-good production. From the moment I saw the trailer, I knew The Sapphires would under-exploit the politics of its setting, and I promptly thought to myself Who cares? This film presents a string of intriguing relationships, which is more than I can say for Dreamgirls, and whilst it doesn't fully realise the cruelty of racism or brutality of war - it is also not sickeningly sappy. In fact, the intense scenes dealt some serious blows - giving the film the dark nuances for which I yearn. 

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Jessica Mauboy's angelic and emotive voice is key to the film's soul and entertainment, but for me, it is O'Dowd and Mailman's performances that brought it all together. I would be more than happy to grant a score of 9, but The Sapphires misses one thing, and that is an out of this world musical number. You know, the song that won Jennifer Hudson an Academy Award (I'm Not Going) or the one Catherine Zeta Jones used to snatch her Oscar (All That Jazz), or even a duet that shatters your soul and tears your heart. Of course I'm referring to McGregor and Kidman's Come What May. 

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Anyhow, Mauboy's Who's Lovin' You is pretty damn good, so let us settle with an 8.

P.S. Jennifer Hudson is the reason why I watch and re-watch Dreamgirls, and since when did my reviews get so darn long! Love y'all.

Julianne Moore, Far From Heaven

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Far From Heaven is a timeless, beautiful and haunting drama, and no other description could be more apt. The sets are lusciously decorated and the cinematography is flawless. The devil is in the details... and the saturated colours! May it be the falling Autumn leaves, yellowed with age, or the distraught expression of a woman trapped in time, the director gives us a holistic view of the scenario. We can appreciate a scene, from many angles, and I'm not just referring to the visuals.

 These visuals are accompanied by Bernstein's heavenly score. The film begins with this score, its soft melodic moments are contrasted with crashing crescendos, and even before the first leave falls, we know we're in for heartbreak.

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 The film encapsulates the look and feel of any great '50s picture. This is an ingenious artistic decision, because this glossy and glamorous superficiality reflects the *perfect* '50s lifestyle. We see a wealthy little couple with their perfect little kids in their splendorous little garden with their decadent little parties. This is Heaven. Then the director peels back the layers to reveal their hidden turmoil. The characters are torn - engrossed by their inner darkness and despair. They are alienated and disorientated by the social stigma towards their course for true love. In every sense of the word, they are trapped.

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 Perhaps we have grown since then, and now we can openly discuss these stigmas, but they still exist, and let's be honest, the glossy and glamorous superficiality is still prioritized. The only difference is that now we can artistically explore what lies beneath. Actually, generally, we're a lot more accepting as a society, but I despise any remotely optimistic thought. Nevertheless, the demons that we keep hidden and our instinctive desire for love are intrinsically human, and that is why this film is entirely deserving of the label timeless.

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Needless to say, Julianne Moore's portrayal of the *perfect* '50s housewife is superb; she is a loving mother and wife, she spends her days wearing gorgeous gowns, planning events and grooming her family. She is  devoted to her husband, and is the epitome of the hospitable hostess. Many actresses could portray these elements of the character just as successfully, but not many would be able to convey the longing and pain that burdens her soul. Julianne Moore can do this with one look. No wonder she was nominated for two Oscars in that one year.

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Dennis Quaid gives an equally empathetic and nuanced performance, and yet the Academy chose to snub him, wonder why? Far From Heaven is an evocative drama of victims, Haynes' detailed vision transports us to a world of prolonged secret sufferings - a place Far From Heaven - and I thank him for that.

 Love y'all.

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Great Expectations, a touch of Harry Potter (2012)

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With the names Helena Bonham Carter, Ralph Fiennes, Robbie Coltrane consecutively flashed across the screen, could you blame me for feeling Potter-nostalgia? Oh yes, and to top it all, Mike Newell is at the helm of production; for those who aren't Potter experts, I don't know why you wouldn't be, he directed The Goblet of Fire. Then again, he also directed Prince of Persia, but we shall overlook that.

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I am a fan of Charles Dicken, I have read and re-read A Christmas Carol countless times, and I had a minute supporting role in a school production of Oliver! Yes, it was the highlight of my career. Away from the limelight of [my] life, Mike Newell gives us his modern take on the classic Great Expectations. The trailer brags a beautifully haunting, gothic setting, and the unnerving score and shades of grey promise endless intrigue. The mysterious crime-esque element never fails to compel me, especially when coupled with broad artistic strokes and shots that caress expansive horizons.

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I actually haven't read Great Expectations. Oops, shouldn't have said that, now everyone will think I have retired my Charles Dicken obsession for badly written erotica. Anyway, I simply wish to share this new trailer with you all, and express my delight in the casting. If you don't cast Helena Bonham Carter as the creepy, lonely, vengeful old bride, then you should be taken out back, and beaten with volumes of Dickens.

I despise being cliche, but now I have some rather Great Expectations. Love y'all.

An actually creepy shot of Ms. Havisham, the other one makes her seem a little too calm.

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Blow Me (One Last Kiss) [P!nk's MV]

For the most part, P!nk's new music video is a noir French film with a classy, glossy feel. The contrast of the blinding white light and the various shades of black and grey creates a hazy, dream-like atmosphere. We know that this is a whimsical dream that is about to be shattered, and we're eagerly awaiting the shattering.

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The quirky video comes to a colourful climax. P!nk attends the white wedding in black, and what can I say, hell hath no fury like a woman's scorn and I LOVE that. A pink heart hovers over the party, before it bursts and showers the wedding red. 

It's exactly what an effective and inventive MV should be. It gives us a simple story to accompany the up tempo song, and heightens our, for want of a punny word, engagement in the liveliness of the lyrics. Then again, I might be blindly biased, winged flying bicycles have never failed to arouse me. 

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Okay that should be enough dissecting for one day, let's wrap this UP. Even in an era where most music videos provide stunning and stylistic visuals, this one doesn't fade into the crowd. In the last few days, my inspiration and flair, if I possess any, seemed to have dried up. I'm grateful for this wake-up call. That close-up where the dripping blood paints those delicate white petals red, somehow, re-ignites my lust for cinematography and love for cinema.

So don't you dare blow me one last kiss. Love y'all.

A little bit of cine-magic at the Olympics (London 2012)

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I don't remember much of the 2008 ceremony in Beijing, but by any standard, this year's ceremony simply ROCKED! Selecting Oscar-winning director Danny Boyle to orchestrate the majestic masterpiece was a stroke of genius, the man knows how to wow. He brought drama to the story, the marvellous set  was decorated with enthusiastic performers of every sort and an intensely compelling score. It was almost a cinematic experience, except it was performed live in front of an audience. 

The first moment to sweep me off my feet was the grandiose transition of the stadium; the idyllic countryside was ripped apart and a nightmarish, fiery industrialised world rose from the ground, literally! 

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This theatrical sequence was resolved with a climax I shall never forget. Five gigantic rings hovered and glided across the sky before they united to form the glorious Olympic Rings. They glowed like a fluorescent cloud in the misty stadium, and to finish in spectacular fashion, they showered streams of fiery sparkles. That really is worth 42 million dollars!

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Boyle mixed live footage and filmed segments effortlessly, with perfect coherence and clear artistic directions. NO ONE will ever forget this Olympic, because James Bond escorted the Queen to the stadium... by parachute! 

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For me, the only thing missing was a live Adele performance, but I'm not complaining. A delirious dream of mine, one I thought would never come true, really did come true! Mary Poppins flew into the stadium and banished Lord Voldemort and his dark shadows. A strict and magical nanny fittingly reprimand a naughty boy; these are the spellbinding moments that make life worth living.

Only if Julie Andrews was among those Poppins... I know, I know greed is a sin! I just love that woman.

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Let the games begins and may be the odds be ever in your favour!

Love y'all.

Mary Poppins banishes Voldemort (Olympics Epic)

The 2012 London Olympics Opening Ceremony is one epic, memorable event! You'd think that NOTHING would trump the Queen and James Bond parachuting into the stadium, but Danny Boyle did indeed outdo himself! Dreams truly do come true, the stadium housed the spellbinding duel between Nanny Poppins and tortured orphan Voldemort. Naturally, Poppins won.

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The ceremony was sensational. In my opinion, the only thing missing was Adele's live performance of What A Wonderful World. Then again, too many of my life-long dreams were already fulfilled, and greed is a sin. The formation of the airborne, fiery Olympic Rings is an image I shall never forget. I am so glad I woke up early to witness this grand occasion. 

P.S. What A Wonderful World? Love y'all.

Prometheus, BEST cinematography 2012?

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For some particular reason, I am finding it impossible to collate a complete review for this modern masterpiece; perhaps I have been unknowingly impregnated by an alien, and its fetus is controlling my mushy brain. Regardless of the plausible Sci-Fi explanation, this post is entirely dedicated to the hauntingly beautiful visuals of this Ridley Scott Epic.

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Although it is only July, I am rather confident that Prometheus will take home the Oscar for cinematography. Simple fact is, the story arc is an age-old explorers' tale - a plot-line that has been heavily exploited in Sci-Fi; the moment you view the trailer, you know that most of the characters are fated to die. I would use the term *meet their maker*, but that can be greatly ambiguous with this film. It is Prometheus' graphically stunning execution of the material that entices us, and provokes us to thoughtfully consider its grand questions. Similar to Scott's earlier masterpiece, Blade Runner, Prometheus' futuristic universe compels the audience to call into question every aspect of our existence. Any action film, with a standard plot, that can evoke such insights is amazing, and should be cherished.

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Too dumb to live is how some viewers have described the characters; I mean, removing their helmets whilst exploring a cavern in an alien pyramid isn't exactly a brilliant move, even if the atmosphere is cleaner than ours, but if you desperately desire to scrutinise the situation, these are mad scientists who have been asleep for two years, LITERALLY. So, as you can imagine, the urge for fresh air can be rather uncontrollable, and scientists can be very romantic and sentimental about a livable atmosphere.

 Oh, and since we're already engaged in this discussion, if a character is exposed to a storm of flying debris, she is going to die even if she runs sideways. Scott is resourceful enough to end her life with an intense BANG instead of a dull, fatal injury; pardon the man for purposefully using special effects!

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Phew, okay, now that I am finished with being overly sarcastic, we can finally discuss the film's divine cinematography. The opening scene consists of marvelous, expansive scenery, and the ingenious director isn't just enthralling us with powerful CGI and great shots for the aesthetic value of it. Observing this natural utopia, we can't help but realise that we are minute, microscopic particles in this vast universe. This establishes the brave and broad strokes of the film; these shots, accompanied by a score that can be described as celestial, thrust us into a spaceship, and demands us to savor the ride.

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The film poses the momentous questions of creation and destruction, and leaves the questions unanswered. Millenia of Science have yet to solve this puzzle, and you expect answers from a two-hour film!? Even if this becomes a compact duology or a successful trilogy, and it absolutely can, I don't think we'll ever get a neat answer. Some mysteries will always remain unraveled and unsolved, and this doesn't concern me. What concerns me is that we are persistently endeavouring to play god - meeting our creators and becoming creators ourselves - our abuse of Science is and will continue to disrupt the natural order. Are we pausing to reconsider the possible apocalyptic outcomes? Or are we too driven  by our agendas, commercial or otherwise, to waste any time? 

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They Went Looking For Our Beginning, What They Find Could Be Our End.

This simple tagline captures the essence of the thematic concerns; as one of the character says we do because we can, and that arrogance is our fatal flaw. Even when pit against monumental architectures and an enemy that can tear them apart from the inside, the characters persevere in their quest to discover some sort of miracle. The grandiose cinematography not ONLY illustrates our insignificance, but also our raging impulse to be heard and to be known. The Prometheus spacecraft puts any Avatar airship to shame, and the P spacecraft plays a crucial role in the story - not that we're doing a comparative study. I feel as though I'm writing an essay, so I'll end on this note.

The cinematography of Prometheus is flawless in every sense of the word, these visuals accentuate the scope of the story, from the crevices of the human soul to the endless waterfall of the universe.
We, once again, lose ourselves in Scott's Alien world, but little do we realise that we are actually peering into the deepest and darkest caverns of our souls. That is one unforgettable experience.

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P.S. This took a million years to write, and I'm sorry if it takes a million years to read. Love y'all.