For me, Ridley Scott‘s Prometheus was a hate watch — easily earning a slot on my “ten most despised films of the 21st Century” list. There have been many, many films released over the last 20 and 2/3 years that I didn’t care for or couldn’t muster interest in, but which I half-respected or could shrug my shoulders h. But from the moment when I first recoiled in horror when I realized that Michael Fassbender was wearing “space mandals” in the opening scene…well, I’ve said it.

I was therefore taken aback when I read Dom Nero‘s “It’s Time To Redeem Prometheus,” which appears in the 9.1 edition of Esquire. He calls it a “masterpiece,” in fact.

From “I Remember Prometheus,” posted on 10.5.12: “In my mind, Prometheus happened so long ago it doesn’t even feel like it came out this year. I saw it in Prague on a rainy afternoon. Mostly I remember the humidity and how warm it was in the lobby as all the journos and media people stood around and waited for the doors to open. And how I was sweating under my baseball cap and shades. And then wondering why the projectionist was showing it in 1.85 and not 2.35. And then trying to make sense of it…and failing.

“Prometheus is visually striking, spiritually frigid, emotionally unengaging, at times intriguing but never fascinating. It’s technically impressive, of course — what else would you expect from an expensive Scott sci-fier? And the scary stuff takes hold in the final third. But it delivers an unsatisfying story that leaves you…uhm, cold.

“It’s a gray, forbidding film about howling winds and chilly people. It’s a watchable, well made, at times better-than-decent ride, but it really doesn’t hang together. I’m sorry but anyone who says ‘wow, this is really great!’ is just full of it. But there’s no way to kick this around without dropping all kinds of spoilers so I’m going to keep things vague.:”

“For what it’s worth Scott shoots the hell out of Prometheus, but the script isn’t integrated. It’s half-assed and lacks a clear hard line. The fault, I hear, is mainly with Damon Lindelof‘s rewrite of Jon Spaihts‘ straightforward Alien prequel script. Roughly 40% delivers some absorbing futuristic technological razmatazz and exposition on a long voyage to a distant planet, 30% to 35% is proficient scary-icky stuff (slimy alien snakes) and 20% is some kind of half-hearted spiritual quest film on the part of Noomi Rapace‘s Shaw character, a scientist who wears a crucifix.

“The spiritual-religious angle is what disappoints the most because it’s only flirted with. The script starts off in a semi-solemn, semi-thoughtful vein, asking questions about the origin or spawning of humanity and the possibility of alien creators or “engineers”, but none of this develops or pays off, and things eventually devolve into standard shocks and creep-outs.

“Most ticket-buyers will go looking for a standard alien flick and come away going ‘hmm, I dunno but this isn’t quite it.’”