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No. I just felt the urge to watch it for its visuals. But I forgot how retarded and infuriating the script is (and its pro-religion, anti scientific message). Fuck you Ridley Scott.

I like the violinist in the room with the flashing screens. Hints of a much more interesting film.

Just because a religious character happens to be the protagonist (and only survivor) doesn't mean that the film has a pro-religious and anti-scientific stance. Ridley Scott is actually one of the most vocally anti-theist directors there could be (making some very valid, but also some invalid points). And how the hell can a movie promote religion if it supports a sort of panspermic stance when it comes to origins of humanity (that said, the basic inspiration behind the film was pseudo-scientific, I can't imagine anyone treats Erich von Daniken seriously, really, but whatever, but still it's NOT a religious stance if we claim that our gods are really aliens... unless we're Tom Cruise, of course). So she is a Christian, she survives and... that's about all.

And the line you have a gripe with is just a badly written line that was supposed to be funny. But... wasn't.

Watch it mate, I do!

How else would you explain about things our governments would rather we didn't know? I've seen the actual picture of a 600 thousand ton ancient pyramid turned upside down....how do you explain that!?

Someone tried to dismiss it as an ornamental bird table, but what the fuck do they know.

Speaking of von Däniken (or Brad Steiger for that matter) ...

NP: Chariots of the Gods (1970) - Peter Thomas

Cool, jazzy 70s music.

Volker

I did wonder who would jump to this film's defence first (my money was on Thor, but you were a close second).

I didn't say this film was pro Christian, I said it was pro religious. Or pro faith. Or pro bullshit. Whatever word you prefer. The fact that she's Christian in the film is largely a result of its intended audience rather than a specific focus on Christian mythology, this much is true (even if it will broadly appeal to Christian ideals). It may not try to convince us of one particular religion, but it certainly takes a misty-eyed view of faith, which is always a safe approach in mass-market films. I don't know of Scott's personal feelings towards theism or indeed religion, but this film leads me to believe he may have had a change of heart if what you say is true. (Or just didn't care enough to change the script.)

First, we get the dream sequence with Shaw as a little girl talking to her father about death, whom then proceeds to tell her that "everyone" has some form of belief in the after life, where he himself believes in heaven - because that is what he chooses to believe (as if one can choose a belief!) That is anti-scientific. It may largely be a semantic gripe, but semantics are important if words are to have any effectiveness.

The crew of the ship are then briefed about the "mission" (whom, for some inexplicable reason, are only briefed after two years of cryogenic sleep, where one can also apparently have dreams). When asked what evidence they have for these 'Engineers', the answer is simply glossed over by our main protagonist with the response "Because I choose to believe." That's implicitly anti-scientific. The biologist then asks the question "What about evolution?", a surprisingly valid point from the writers who seem only to share a single brain cell between them, but decided to leave it unanswered. And, by extension, what then should have been asked is why do we share the DNA of every other living thing on this planet if we were 'engineered'? (And why does the biologist want to walk away from the first ever encounter with an alien body when they find the decapitated Engineer? One would have assumed his scientific curiosity would have overcome his various other concerns, especially as he was chosen and opted for this presumably dangerous outer-space mission in the first place.)

Next is Guy Pearce, who for some reason is in shitty old-man makeup (maybe they plan to do some sort of prequel to this prequel or a flashback? Covering their options, so to speak. I dunno). He asks -and by extension the film asks- what is our 'purpose', "why" are we here, as though it's a valid question to ask. The film gives credence to this pro-religious line of reasoning by granting it validity throughout the film, rather than viewing it objectively as a human phenomenon (which it is). It's certainly a relevant topic to explore, but a little objectivity would have been nice.

Then of course is the 'Don't be a skeptic' line. I don't agree it was a joke, as the film is clearly holding "faith" in high regard. Had he said that line and then preceded to have his head explode due to some alien toxin in the air, then yes, that would have been a nice little joke. (If it indeed it was a joke, then yes, it's equally lame.)

Then, when all is said and done, she doesn't lose her faith! Given that, it's hard to see it as anything other than pro-faith, anti-scientific, especially given that what she has learned and seen with her own eyes directly contradicts her religion's core tenet.

This film is almost as retarded as the Christian myth itself. But much like Christianity, the art based around it is rather impressive.

Raiders Of The Lost Ark John Williams

Now this is heaven!

You mean in a fun way.

^
Better than watching Footie.... FACT!!!

Hmmm? Listening to Man of Steel might be pushing it.

I am?

I'm not even going to get into the PROMETHEUS discussion again. All I need to reiterate at this point is that it's the best film of 2012 -- by a WIDE margin.

I can't imagine the character continuity issues*, the choice of a young actor in old age make-up as Weyland, or Charlize Theron's strange decision to run underneath the ship can be blamed on the writer.

* Classic signs of cutting an edit down either because of unworkable performance or trying to fit smaller screen time.

NP: Harry Potter and the Deathly Hallows, Part 1 (Alexandre Desplat)

Beautifully-detailed piece of storytelling. While the second score has the very emotive theme for Lily, it did feel like this score was setting up a different kind of musical resolution to what we ended up getting. The fine detailing of cues like 'Dobby' and 'The Deathly Hallows' stands out the more I listen to it.

Does anyone know what the cue 'Lovegood' was written for? It's not in the film. Were scenes cut?