What was prometheus nominated for

Alien vs. Predator Games. AvP Fan Art and Fiction. AvP Merchandise. An Oscar nomination for Michael Fassbender? What chance a nomination for Michael Fassbender for his portrayal of David 8 I wonder. Come on, the bloke who won Best Actor for The Artist last time didn't even say a word! I don't think, unfortunately, that there is much chance of say a Best Supporting Actor nomination. As Bill Paxton said science fiction fantasy and horror movies kinda built Hollywood, and they don't get as much recognition as perhaps they should.

Maybe a nomination or two for sound or digital effects is more likely? So not likely but I really do hope so, he was so good Musical score. This isolation is achieved both by long shots which make him diminutive, and the high definition deep focus which does not emphasise him.

The viewer identifies Brandon as different from the metal, concrete and glass around him, but with everything in equal focus and definition, the person is no more or less emphasised than what surrounds him. This scenery features many flat panels, including the plate glass windows of New York buildings, glass walls and doors in the office where Brandon works, sleek, shiny tables and computer screens.

These planes again integrate Brandon with his environment, which further expresses the disengagement he has with others. The protagonist glances off people as though he were made of glass or stainless steel himself.

A subsequent role played by Fassbender was David in Prometheus , and his role in Shame serves as a fascinating precursor to the android. Although Brandon does have emotions, he as unable to operate as a human being as the artificial person. This is especially striking when Brandon goes jogging, the camera capturing his progress in continuous tracking shots.

As he jogs, he passes people, shops, restaurants, cars, never stopping or pausing, his progress uninterrupted either by obstacles or camera cuts. Everything is equally detailed, and so nothing is emphasised, our protagonist one feature among many, equally apparent and only discernible by the camera following his movement.

Another version of this alienation appears during two scenes between Brandon and his co-worker Marianne Nicole Beharie. They have a dinner date in which Brandon explains his aversion to relationships, his longest being four months. The scene occurs in a single take, the camera focus slowly narrowing either through a zoom or tracking shot, drawing the viewer closer to this intimate conversation.

Outside the windows of the restaurant, the New York street is once again exquisitely detailed in the high definition deep focus, the couple, such as they are, merely the details that we can hear. Later, the deep focus creates an even more isolating effect, as Brandon and Marianne go to a hotel room and begin kissing and undressing, but Brandon stops before they proceed to intercourse.

It seems that if he has an emotional connection to a sexual partner, he cannot become fully aroused. His isolation is again emphasised by the high definition deep focus which allows the viewer to see what takes place outside: rain spattering on the floor-to-ceiling windows, cars passing on the roads outside, cranes at a nearby construction site. Urban life progresses, this failed attempt at intimacy occuring in the midst of indifference.

Brandon is emotionally distraught but, cruelly, the camera remains on him even once Marianne has left, a tearful Brandon gazing out at the uncaring city which continues uninterrupted. This distraction expresses the alienating effect of urban life, perpetual motion and empty expanses, in which Brandon, at least, cannot connect. When he is overcome by shame and throws out all his pornography, the scene is presented in short takes, punctuated by jump cuts as he sweeps magazines, videos and a laptop into bin bags and dumps the bags on the street.

A more intense and indeed upsetting scene occurs later, when Brandon goes to the apartment of two prostitutes and engages in a furious but agonising threesome. It may rank as one of the most uncomfortable presentations of sexual intercourse ever committed to film, bereft of intimacy or even simple pleasure, Brandon screaming as though under torture. Here the film expresses the ineffable — the unspeakable and incomprehensible pain at finding a loved one dead or dying.

Such scenes are common in films — Heat features a very similar one — but Shame offers one of the most effective encounters with an attempted suicide. Once again, the long take prolongs the agony, lingering on Brandon to an uncomfortable degree. Shame demonstrates remarkable cinematography and editing choices, as one is largely merciless and the other restrained. New York is used to great effect, the HD footage capturing the city in exquisite detail, which serves to demonstrate the isolation of the protagonist.

In another heartbreaking scene, Brandon sinks into an almost foetal crouch in a wasteland part of the city, crying out for something beyond his addicted and hollow existence. Once again, we see everything, the pores of his face as richly textured as the tarmac around him. This is one the great effects of HD, creating a visual palette in which people and environments are presented in equal detail I have published elsewhere on the use of this in Collateral.

But in the case of Shame , urban alienation is effectively conveyed through long takes, deep focus and high definition digital film. Five years later, Boyle experimented with science fiction in Sunshine , which works as an interesting counterpoint to 28 Days Later….

Whereas 28 Days Later… quickly breaks into a mad, frenzied dash, Sunshine has a more sedate opening act, the voiceover of Robert Capa Cillian Murphy, again easing us into the steady movement through space. The voiceover provides simple and necessary exposition, informing the viewer that the sun is dying so the vessel Icarus II has been sent to reignite the star with a gigantic bomb. We also learn that the first mission, Icarus I , failed and, as the film progresses, this failure and its ramifications will form both the narrative and spiritual conflicts of Sunshine.

When science fiction does this, like in other recent films such as Inception , Avatar and Prometheus , it is at its most satisfying. Sunshine features similar moments when the screen is filled with light, a golden expanse that is both beautiful and terrible. The general aesthetic of films set in space is to emphasise the void of blackness, but Boyle uses light in Sunshine to extraordinary effect, bathing the Icarus II and the performers in golden radiance.

For me, the best science fiction is that which transports you, and Sunshine certainly does that. Searle describes his experience as something transcendent and profound. This element of the mission through space remains prominent throughout, an encounter with something immensely powerful and magnificent.

Salvation for the Earth is the goal of the astronauts, but beyond this, each of them seek spiritual salvation or enlightenment in different and often misguided ways.

Mace Chris Evans is the most cynical of the crew, committed only to completing the mission, which he does not live to see. Cassie Rose Byrne is the heart of the crew and the film, caring for everyone as much as she can, and there are suggestions of a nascent romance between her and Capa. Of course, it comes to nothing and her compassion and sympathy is overridden, largely by Mace.

Harvey Troy Garity and Trey Benedict Wong are more minor, but it is interesting that after his mistake endangers them all, Trey seeks redemption in suicide. But the most interesting quests for salvation are those who seek it in light. Searle demonstrates this conceit through his fascination with seeing as much light as he can. At the moment of his death, Kaneda is calm, humble and seemingly embracing the great power that consumes him. What can you see when the retinas are overloaded by light?

Too much light is ultimately blindness, while in the midst of darkness one heads for light. The major contrast, of course, is between Capa and Pinbacker Mark Strong , captain of Icacus I who went mad and killed his crew. Pinbacker believes he has found salvation in death, Capa does so as well, but his death is life for Earth. Indeed, Capa seems to achieve the transcendence that Searle pursued and that Pinbacker possibly found, but without the murderous madness.

To an even greater extent than Sunshine , The Fountain fills its frame with almost tactile light, blinding and beautiful all at once. And in this enveloping light, both films express transcendence and spiritual salvation. When the character of Pinbacker appears, naked, scorched and space-crazy, the erratic editing and cinematography distracts from the danger. Narratively and thematically, the ending is fine, but stylistically it is a problem and straighter presentation might have been more effective.

In Sunshine , the final spill into horror undoes some of the tension generated in earlier scenes, but the spiritual journeys continue, presenting a route to salvation even, or perhaps especially, in the face of death.

Not that featured so many astounding cinema experiences that I could not pick less than twelve — originally there were ten. But then I decided to put them into musical form, which necessitated an extra two. Ranking them was surprisingly difficult, and the factor I used to ascertain their positions was surprise. What surprised me, what met expectations, and what exceeded expectations were the deciding factors in deciding my favourites.

Skyfall also divided opinion, as many thought it was superb but there were apparently instances of people walking out, which is baffling to me. I probably had a prejudice about Skyfall because it is a Bond film, and there is only so much I expect from the series. Happily, Skyfall gave me so much more than its franchise led me to expect, working as a great film in its own right. When it comes to ascertaining what makes a film good, different people have different standards.

For others, flashy action and special effects are important. Ultimately, there will never be universal agreement on what constitutes high cinematic quality, there will always be differences of opinion, and thank goodness for that because it would be very dull if we all liked and disliked the same things. Fundamentally, I want high technical quality, such as detailed production design Prometheus , expressive cinematography Life of Pi , effective editing Avengers Assemble , Argo and direction that pulls all these elements together The Dark Knight Rises.

I also want conviction to subject, as few things frustrate me more than a film that raises a topic and then abandons it The Iron Lady , so a film that sticks to its guns The Grey and has the conviction to deliver on what it sets out to do Killer Joe is a good one to me.

Exploration of themes such as responsibility Looper and loyalty Skyfall also work, again so long as there is conviction throughout the filmic text. This is a fan-created website for the purpose of informing and exciting fans for Alien: Covenant's release. If you have any questions about this site, its content or the Scified Network in general, feel free to contact Scified directly.

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Alien Movies. Sign up Sign In. Forgot Password? Alien: Covenant Forum Topic. Alien Discussion Forums. All Things Alien. Not related to any media or corporation. Prequel Movie Groups Alien Saga Synopsis A rare star map is discovered and scientists believe it holds the answer to the ultimate mystery—the origins of mankind on Earth.

A team of explorers on board the spaceship Prometheus set off into the depths of the universe to uncover the truth. The mission is being led by ship captain Janek Idris Elba and overseen by Weyland Corporation the same company responsible for the expedition in Alien employee Meredith Vickers Charlize Theron , whose suspicious actions lead others on board to question her real agenda.

Upon embarking on the mission, the crew discovers an advanced civilization of extraterrestials. Although the team's goal had been to unlock the secrets of humanity, they soon come face to face with the one thing that threatens to destroy it forever.

There is nothing left of what was, thirty years ago, the success of 'Alien', his style unique - the strangeness that pervaded the air, containment, murky light, the paranoia, the personality of Ripley" Isabelle Regnier: Le Monde Movie Soulmates' ratings Register so you can access movie recommendations tailored to your movie taste.

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