Prometheus

I really preferred this movie over Alien Covenant.Thought it had a better plot.I plan to rent Alien Romulus when it comes out on Amazon.

expensive

GREAT movie for Sci-Fi fans. Not really horror but very tense at points. The Digital Copy expired in 2014 so it was not redeemable.

I am very pleased how quickly this DVD was delivered and in its condition.

Won't be for everyone, but I like all these movies and can't wait for the August release of Romulus.

First off, I went into Prometheus not entirely sure if I was indeed watching an Alien prequel or not. (according to the studio) First it was, then it wasn't, then it kinda was but they weren't calling it one, etc. Let me say that Prometheus most definitely is part of the Alien story. It just goes in an uncommon direction. The deciding factor in whether you're going to like this film or not, is what you hope to get out of an Alien prequel. If you're looking for a space horror like the original, this is not so much that. If you want an other-worldly guns-a-blazing action flick like Aliens, this is not really that either. What this is, is somewhere between those films, with a much bigger emphesis on story. As a movie-buff and one of those 70-80's kids who grew up on films like Alien and Star Wars, I constantly wanted to know what was behind everything. Where did these aliens come from? Who/what was that fossilized (appearing) creature sitting behind the big gun when the Nostromo crew entered the ship on LV-426? Who's ship is this & why was it there? Questions such as these are finally answered with Prometheus, along with one giant revelation to an unposed question. One that is much larger and far deeper than anything else contemplated within this series. One that could be potentially very disturbing to some. I will go no further into that aspect, so as not to spoil anything. Of course this film has guns-a-blazing action and the spooky atmosphere of the first two films... Just not to the degree of either one. This is a well balanced Sci-Fi film, with some truly spectacular visuals & effects that most importantly, do not overtake the story. If you're one of the few who has never seen the original Alien films, doing so is not really required (though highly suggested). The way in which these old questions are answered is not done in such a way that you ever had to have asked them in the first place. There is no big fanfare or fancy reveal, as to say HERE IT IS!. The film is thankfully not ruined in that way. But for those who have seen the first four films and have questions, the moments where everything just comes together are found in Prometheus. While this film could stand on it's own, it is left begging for a sequel, as all ends are not tied up and new questions are definitely asked.As far as the picture & sound quality of this (Blu-ray) disc are concerned, both are absolutely stunning. Prometheus is quite probably the best looking & sounding live action BD I have ever viewed. To put simply, the picture is breathtakingly flawless. I could detect no artifacts, banding or any other negative aspect, even in dark & high contrast scenes. Color is vibrant yet realistic and blacks are decidedly black. Sound is dynamic with great bass and effects are precisely placed. Most importantly (and sadly uncommon) is the fact that dialog is consistantly clear and audible without having to adjust the volume between voice & effects. When it comes to picture & sound, Prometheus is of reference quality and sets a new standard.

When is a prequel not a prequel? When a studio, let's call them 20th Century Fox, concerned about limiting the audience for their latest, big-budget science-fiction/horror film, PROMETHEUS, sidestep the use of the word prequel in their marketing materials and ask the director, Ridley Scott (KINGDOM OF HEAVEN, BLACK HAWK DOWN, GLADIATOR, BLADE RUNNER), and the screenwriters, Jon Spaihts (THE DARKEST HOUR) and Damon Lindelof (LOST), to sidestep direct or indirect questions about the connection or connections between PROMETHEUS and Scott's second film, ALIEN. We've been told PROMETHEUS and ALIEN share DNA. We've been also told that PROMETHEUS occurs in the ALIEN universe, but not a prequel to ALIEN. PROMETHEUS is indeed a prequel, albeit an indirect one, meant to launch another trilogy before reaching its inevitable endpoint: ALIEN.In 2089 C.E. (or A.D. if you prefer), two archeologists, Elizabeth Shaw (Noomi Rapace), a true believer of the Judeo-Christian time, and Charlie Holloway (Logan Marshall-Green), Shaw's colleague, lover, and the skeptic to Shaw's believer, discover 35,000-year-old pictograms on an island off the coast of Scotland that seemingly confirm their theory that aliens visited different civilizations in the past. Shaw and Holloway believe the aliens influenced or otherwise directed cultural and possibly biological evolution, an idea that seeped into the pop culture mainstream forty-four years ago when Erich von Däniken published his factually challenged bestseller, "Chariots of the Gods." The pictograms contain a star map that Shaw and Holloway interpret as an open invitation for renewed human-alien contact. Shaw implicitly believes in their benevolence. Holloway doesn't seem to share Shaw's optimism, but doesn't completely slip into negativity either. Shaw's optimism proves woefully unfounded we're in the ALIEN universe after all).Shaw and Holloway's evidence proves sufficient to convince Peter Weyland (Guy Pearce), the octogenarian CEO of the Weyland Corp., to fund a trillion-dollar expedition to the star system where Shaw and Holloway hope to meet the aliens and get the answers every child or teen asks once or twice: Who are we? Why are we here? Who made us? And to what or for what purpose? Shaw answers, somewhat naively, with religion, but she's still a scientist and as a scientist knowledge, regardless of whether it conflicts or not with religious belief, takes precedence. Holloway is far more the skeptic, the empiricist, the non-believer, but he's just as eager to meet the godlike beings that presumably created us. The science vs. religion debate isn't really a debate, not in a film with a $150 million dollar budget. It's just enough to suggest depth without in fact providing anything approaching depth.Weyland sends Meredith Vickers (Charlize Theron), a cold, calculating corporate executive with her eye on the CEO's chair (when Weyland passes into the great corporate beyond, of course), to keep tabs on the expedition. The ship's 17-member crew fulfills its primary function in the ALIEN universe: As fodder for the inevitable outbreak of something or other that decimates the crew. The script gives the secondary and tertiary characters names, but they could be easily called Generic Character No. 1 through Generic Character No. 10 or 11. Even worse, the characters that are coded as "smart" (because they're scientists) make fatally idiotic decisions at the worst possible times, presumably because Spaihts and Lindelof ran out of ideas and decided to rely on standard horror-film clichés. Only a few characters make any kid of impression. That's less to do with the screenplay and everything to do with the actors, like the Prometheus' captain, Janek (Idris Elba), who gets minimal screen time or character development, but whose actions suggest a heroic, self-sacrificing nature.With his dyed blonde hair and mannerisms lifted from his favorite film, LAWRENCE OF ARABIA, and a secretive, ambiguous agenda (again typical of androids in the ALIEN universe), David (Michael Fassbender) easily emerges as PROMETHEUS's most compelling character. He's first introduced watching over Shaw in her sleep chamber, picking through her childhood memories, a choice that's simultaneously creepy, because it's voyeuristic and a violation, and comprehensible as an expression of David's loneliness. David isn't supposed to have wants or needs, but he evinces them in practically every scene. He also evinces a dry, droll sense of humor that's often misunderstood or ignored by other members of the crew. They treat David less as a valuable member of the crew than a personal valet or even worse. When David makes consequence-heavy decision, he's simultaneously following Weyland's orders and engaging in payback for real and perceived slights.David, however, can't carry PROMETHEUS alone and either can Shaw as a proto-Ripley action-heroine. While Scott gives Shaw one of the most disturbing, squirm-inducing scenes in the ALIEN mythos, one that easily rivals a similar scene in ALIEN, she doesn't charge in any noticeable way until late (very late) in the film. Rapace's slight stature doesn't help, but Scott could have worked around Rapace's physical limitations with a script with a stronger focus on Shaw. Vickers exists primarily as a link to her predecessors (or rather successors) in the ALIEN universe, as embodiments of the amoral corporate ethos critiqued strongly in ALIENS. Vickers serves another function, but to say more is to spoil one of PROMETHEUS' few remaining surprises. It feels superfluous because, in fact, it is superfluous.PROMETHEUS suffers from the failure to meet the outsized expectations of ALIEN fans that expected and wanted, if not a carbon copy of the first film in the series, then something substantially similar, yet uniquely different to ALIEN. ALIEN centered on the crew of the Nostromo, a commercial freighter in the not-so-distant future. After the Nostromo's crew responds to a non-human distress beacon, they discover a long-dead, non-human pilot, the Space Jockey, and derelict spaceship's deadly alien cargo. ALIEN's lone survivor, Ellen Ripley (Sigourney Weaver), appeared in three subsequent films of uneven quality. Only James Cameron's ALIENS matched ALIEN's ambitious scope and scale. Both films are justifiably considered genre classics if not outright genre masterpieces. Returning to the ALIEN universe and answering the questions surrounding the Space Jockey, the derelict spaceship, and the mystery surrounding the ship's cargo spurred Scott, working with Spaihts and Lindelof, was always a problematic, even controversial choice. Was answering the questions surrounding the Space Jockey worth exploring or answering? On the strength or rather weakness(es) of PROMETHEUS, the answer is, at best, a qualified one.PROMETHEUS, however, doesn't offer any ideas, intellectual, metaphysical, scientific or otherwise, that could be described as fresh or original (because they're not). Arthur C. Clarke's CHILDHOOD'S END, Nigel Kneale's QUATERMASS AND THE PIT, Clarke and Stanley Kubrick's 2001: A SPACE ODYSSEY, and Steven Spielberg's CLOSE ENCOUNTERS OF THE THIRD KIND (among many others) all posited alien visitors for more than just cultural tourism or anthropological explorations of primitive cultures (ours), but also to prod cultural and sometimes biological evolution (ours, again). It's a pity then that Spaihts and Lindelof, following Scott's lead, don't develop the idea beyond the merely functional (to setup sequels to the prequels), but it's hard to blame them or Scott too heavily if PROMETHEUS, a film made by a Hollywood studio specifically to kick off a new, hopefully commercially lucrative franchise, fails to provide narrative or emotional closure, but instead tapers off into an semi-satisfying, sequel-ready ending.Narrative problems and shortcomings have been more the exception than the norm in Scott's work and while PROMETHEUS is no exception, it's also another example of Scott's strengths as a visual stylist. Scott always seems to have a clear vision of what he wants to achieve cinematically and PROMETHEUS is no different. To that end, Scott shot in Iceland to capture the harsh, unforgiving landscape of the alien moon. Scott's longtime production designer, Arthur Max (BODY OF LIES, KINGDOM OF HEAVEN, BLACK HAWK DOWN, GLADIATOR, SE7EN), and his cinematographer, Dariusz Wolski, bring a palpably believable, not-so-distant future into the present, a present made all the more credible thanks to subtle, immersive 3D. It's clean, pristine, and antiseptic, filled with the floating transparent screens filled with colorful data streams that AVATAR made de rigueur three years ago. The alien structures owe a great deal to H.R. Giger's seminal contribution to ALIEN, expanding on Giger's design work organically, if, at key times, no less repulsively. Scott fully embraces PROMETHEUS' R-rating, crafting several unforgettably repulsive scenes that would make even David "body horror" Cronenberg simultaneously recoil in disgust and applaud in appreciation.Cross-posted at VeryAware.com.

Vendedor confiable , físicamente se ve bien y viene con subtítulos en español

EXCELENTE CALIDAD DE IMAGEN,SERVICIO EXCELENTE,LLEGO MUY RAPIDO

Item was perfect .

This is the BEST ALIEN movie. The story is super great and is something they could have worked on for a trilogy.. I still hope for a PROMETHEUS Trilogy to come.The original ALIEN movies are good but not best. I love the horror, but they lack a deep story and feels like they are all over the place when it comes to the story..

Ridley Scott non può deludere considerando che è uno dei caposaldi della regia ... film lento con anima filosofica e una direzione artistica meravigliosa...Edizione con audio/video 4K eccezionali con il giusto impiantoPer conoscenza edizione con cover in lingua spagnola ma include anche menu e audio in italianoConsegna perfetta

100 % OK Goede verzending en besteld item beantwoorde volledig aan de beschrijvingvan de verkoper ( uiterst tevreden ):-):-):-)