In our regular polarising-opinion series,
writer Sam Ashurst asks, is it just me? … or is
Let’s face it: to slam dunk this argument faster than Ripley throwing a basketball over her shoulder, all I have to do is prove that
is better than two
movies – the first one, and the second one.
was launched out of the airlock by its own director,
featured a character that looks like big wet white dog poo and the
Alien Vs. Predator
franchise was so terrible it’s been scientifically proven that no human has watched any of them without glancing at their smartphone at least once. Seriously, I’d rather leap out of a plane into a jungle full of alien hunters with only a face-hugger for a parachute before I’d even watch a trailer for one of those things.
Which brings me to
. Glorious, misunderstood
. A film so good it not only contains the greatest ever Michael Fassbender performance, it allows him to continue on with that performance even after he’s been decapitated. But I’m not going to use that fact in my argument, because a) obviously Ash gets his head lopped-off in
as well and b) frankly, I don’t need it.
is a great film. Sure,
have had longer to become a part of pop culture. More people have seen the chestburster scene in
than have watched the actual film, and I’ve quoted “Game over, man” so many times it was cited during my last divorce. But I have a feeling that, in 30 years time, people will be reappraising
so heavily that this article will be held up as the wisdom of a prophet. It’s a heavy burden, but let’s do this.
is an excellent haunted house horror movie. Seriously, it’s great.
is a constantly entertaining war movie. But
manages to combine spooks (that creepy first act), action (that flame-filled second act) while adding the element that makes it transcend for me – philosophy. Yep, Ridley Scott was brave enough to shove a philosophical exploration of the very nature of human existence into his summer blockbusting
movie sequel/prequel/reimaginequal. And for that he should be applauded.
When some people look to the sky, they see God. Others just see stars. That dichotomy is at the root of
’ big question: If there’s no God, where did we come from? And it goes further: can God exist in a scientific world? Prometheus is Scott’s attempt to splice the wide-minded wonder of Kubrick’s
2001: A Space Odyssey
with the DNA of the summer-movie template.
I’ll concede that it’s an experiment that didn’t work for everyone, but just because you didn’t get it doesn’t mean it’s not a good film. There’s so much to love in
, whether it’s the subtle theme of creators rejecting their creations, the jaw-slackingly beautiful visuals (as pretty as anything in Scott’s back catalogue), or the mindbending implications of that key conceit.
In your typical blockbuster set-up, humans create their antagonists. Here, the antagonists create humans. That’s a brilliant twist. All of these factors certify that
is obviously the best
movie. Or is it just me?