NY Times Review

“Prometheus” kind of spoils itself with twists and reversals that pull the movie away from its lofty, mind-blowing potential. Geeks and dreamers will hold onto scraps of splendor and wish for more. There are no revelations, only what are called, in the cynical jargon of commercial storytelling, “reveals,” bits of momentarily surprising information bereft of meaning or resonance. For example: A sequel is coming.

again, someone with an agenda reviewing a review, the truth is this review other than the passage posted above includes stuff like this...which is High Praise indeed !!! Period !!! In his new film, “Prometheus,” Mr. Scott, returning to science fiction after a 30-year post-“Blade Runner” absence, entwines the visceral, creatural dread of “Alien” with some of the quasi-mythic grandiosity of “Chariots.” Once again a vessel lumbers through the galactic void, and a diverse crew must contend with menacing weirdness outside the ship and growing paranoia within it. The Giger alien may still be out there. Something wicked lurks in subterranean tunnels, their walls etched in freaky runes. And hovering over all the scary stuff are some big, metaphysical questions about the origin and ultimate fate of humanity. A lot of the pleasure of “Prometheus” is in that hovering. Once the themes touch down and the arc of the story becomes clear, some disappointment sets in. But Mr. Scott’s sense of visual scale, which has often produced hectic, hectoring grandiosity (are you not entertained?), achieves, especially in the first hour, something like genuine grandeur. Twinned opening scenes — the first involving a giant, alabaster-skinned biped sacrificing himself to propagate life on Earth, and the second, thousands of years later, devoted to scientists’ finding traces of his presences — impart a palpable sense of awe. The music, by Marc Streitenfeld, soars and rumbles toward cosmic significance. And the shudders of sublimity only grow more intense as Mr. Scott elegantly lays out a series of overlapping conceits. You might also call them science-fiction clichés, but the amazing thing is that, at least for a while, they don’t feel that way. The visual scheme is sufficiently captivating, and most of the performances are subtle enough that whatever skepticism you may arrive with quickly turns into happy disorientation. The 3-D is unusually graceful — your gaze is absorbed rather than assaulted — and you are pulled into a world of lovely and disconcerting strangeness with plenty of time to puzzle over the behavior of its inhabitants.

Probably the best review yet....very honest and unflinching with the narrative plot flaws and lost stories...but also great parries for what is great about the movie....in its intense buid up and visual mastery

I would call this another 7/10 review, it seems there are a lot of middling reviews for this film. This is actually a good sign as few people seem to really "hate" the film, it is more just disappointment at what it could have been. I wonder what the reviews would be if Scott's name wasn't on the film.