---
title: "Prometheus"
year: 2012
kind: "film"
canonical: "https://film.one/film/prometheus"
fi1m_score: 60
critics_score: 64
critics_reviews: 25
published: "2026-09-19T16:06:16.094789+00:00"
updated: "2026-09-19T16:06:16.336635+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Prometheus (2012)

Directed by Ridley Scott · 2h 04m · MPA R · Science Fiction, Mystery, Horror

**Fi1m score: 60** · Critics 64 from 25 reviews

*In a sentence:* The android is the only one aboard who seems to have read the brief, and he is the one to worry about

> Ridley Scott returns to the universe of *Alien* asking where we came from. For an hour the pictures are good enough to carry the question; then the script has to answer it, and cannot. Fassbender’s android is the reason to stay.

## Synopsis

In 2089, on the Isle of Skye, archaeologists Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green) find a cave painting of a giant pointing at a cluster of stars, the same pattern they have seen in cultures that never met. Four years later they wake aboard the Prometheus, a survey ship paid for by the ageing Peter Weyland (Guy Pearce), run on his behalf by Meredith Vickers (Charlize Theron) and flown by Janek (Idris Elba). The android David (Michael Fassbender) has kept the ship alone for the two-year voyage. Shaw wants to meet the beings she believes made humanity; Vickers wants nothing touched and nobody in contact. The crew, among them the geologist Fifield (Sean Harris) and the biologist Millburn (Rafe Spall), land on a grey moon beside a vast domed structure and go inside.

## Review

Ridley Scott has not made a science fiction film since [*Blade Runner*](https://film.one/film/blade-runner) in 1982, and he comes back with the largest question available: who made us. *Prometheus* sends a ship of scientists to a moon at the far end of a star map, and for an hour it is the film his admirers wanted. Then the crew reach the place they came to find, and the script by Jon Spaihts and Damon Lindelof has to say what is there. It is superbly made, and the writing lets it down.

Arthur Max gives the Prometheus a bridge of glass and pale panels and a white medical bay, and gives the moon a dome with ribbed tunnels underneath. Dariusz Wolski shoots the landing from far above, the ship a small thing dropping into grey rock under a grey sky. Inside he keeps the light with the actors, so the walls appear only as they pass. A holographic star map in one chamber, blue pinpoints turning slowly around the crew, is the best single image Scott has put on screen in years.

Fassbender is the film. David has spent the two-year voyage awake and alone, riding a bicycle around the hold, learning dead languages, and Fassbender plays him with a stillness that reads as good manners until you notice he is never surprised. We were moved by these early minutes, an android filling the years with hobbies because nobody has told him what else to do, and the film never again gets that close to anyone. Janty Yates puts him in a fitted grey uniform a size neater than everyone else’s, which is right.

The rest of the crew are the problem. Noomi Rapace’s Shaw is a believer who wears a cross and wants to meet the beings who made her, and Rapace plays the want with force; the script gives her a dead father in a dream and calls that a character. Logan Marshall-Green’s Holloway is a sulk in a hoodie. Sean Harris and Rafe Spall, as the geologist and the biologist, are written to be frightened and then to do what frightened people do not do. Charlize Theron’s Vickers is held in reserve too long. Idris Elba’s Janek has the only relaxed body on the ship and wins every scene by lounging in it.

Spaihts and Lindelof want the film to be about makers and the things they make: a company that built an android, a father who disappointed a daughter, gods who might feel about us the way Weyland feels about David. It is a decent idea and it is delivered entirely in speeches. Shaw tells Holloway what faith is for. David asks Holloway why humans made him and gets the film’s thesis back in one line. Nobody does anything that shows us these things, and the last half hour swaps thinking for running.

There is a sequence around the midpoint, in that white medical bay, that had us rigid, and it is the one stretch where the horror and the idea are the same thing: a body, something made inside it, a machine not built for the job. It lasts a few minutes. By the last reel we were bored, and then cross about being bored by something this well built, while Pietro Scalia’s cutting turned brisk and careless. Marc Streitenfeld’s score swells on every landscape when Wolski had already done the work.

[*Alien*](https://film.one/film/alien) worked because it explained almost nothing: seven people, one ship, one creature, and a script that trusted the audience. *Prometheus* has more money, more crew, more ideas and less nerve, and treats every unanswered question as a promise to a sequel rather than a choice. Scott can still frame a landscape better than almost anyone. He has forgotten, or been talked out of, how little he needs to say.

See it for the first hour and for Fassbender, and see it large, because the moon does not survive shrinking. It runs 124 minutes and carries a 15. Bring low expectations for the ending and a high tolerance for people in helmets asking each other what things mean.

*Fi1m score 60, published 19 September 2026.*

## What the critics say

Most critics come down on the side of Prometheus, though rarely by much. The praise gathers almost entirely around how it looks: the production design, the scale of the environments, the creature effects and the crisp photography are singled out by nearly every review, including the hostile ones. Michael Fassbender’s android David is the performance most often named, with Noomi Rapace a close second, and several critics pick out the same surgery-machine sequence as the film’s most frightening stretch.

The reservations are just as consistent. The script is called thin, the characters foolish, the big questions about creation raised and then dropped, and the comparison with Alien goes against it almost every time. The spread is wide. RogerEbert.com treats it as a major work of ideas; The New Yorker finds nothing in it but bombast; Empire, reviewing earlier than most, judges it hollow. In between, a large middle finds it entertaining and not much more.

### Reviews we read (28)

- **RogerEbert.com**, Roger Ebert (90/100, inferred): The critic calls it a magnificent science-fiction film that raises profound questions about the origin of human life without providing answers, in the tradition of golden-age sci-fi. He singles out the staggering visuals, expert horror sequences, mind-challenging ideas, and the performances, especially Noomi Rapace's resourceful lead. [Read](https://www.rogerebert.com/reviews/prometheus-2012)
- **The AV Club**, Tasha Robinson (B+): Technically and visually impressive with gorgeous design and a thoughtful exploration phase, but undermined by foolish character decisions, dropped ideas and a shift into silly blockbuster action that leaves it more intellectual than visceral and not fully satisfying on either level. [Read](https://www.avclub.com/prometheus-1798173073)
- **IndieWire**, Matt Mueller (80/100, inferred): The critic highlights the film's eye-popping visuals and its role as an 'Alien' origin myth. He praises Ridley Scott's direction for delivering a visually spectacular experience that expands the franchise's lore. [Read](https://www.indiewire.com/criticism/culture/review-ridley-scotts-prometheus-offers-eye-popping-alien-origin-myth-181345/)
- **Radio Times**, Terry Staunton (4/5): The critic praises the film as a rattling space opera that explores themes of creation and mortality while delivering a thrilling, well-paced story with solid performances and arresting visuals. They highlight how it shares DNA with Alien but stands as a precursor with profound questions. [Read](https://www.radiotimes.com/movie-guide/b-eup9l3/prometheus/)
- **Screen Daily** (80/100, inferred): The critic highlights Ridley Scott's striking sense of vision and ability to deliver intelligent and visceral filmmaking in this anticipated sci-fi epic. They single out the masterful visualisation of environments, perfectly shot sequences, and the film's capacity to thrill and provoke audiences. [Read](https://www.screendaily.com/prometheus/5042830.article)
- **The Telegraph**, Tim Robey (75/100, inferred): Ridley Scott's elaborate sci-fi freakout is majestic to look at and full of tentacular mayhem, pushing the genre into queasy new places with fresh terror in key sequences. It struggles with tone and expectations as a partial prequel but delivers vigorous spectacle worth revisiting. [Read](https://www.telegraph.co.uk/culture/film/filmreviews/9300098/Ridley-Scotts-Prometheus-first-screening-review.html)
- **Total Film**, Jonathan Crocker (75/100, inferred): Ridley Scott returns to sci-fi with a visually stunning, ambitious film that builds mythology around the Alien universe's Space Jockey, featuring strong performances especially from Michael Fassbender, though it lacks the primal horror of the originals. [Read](https://www.gamesradar.com/prometheus-1-review/)
- **The Guardian**, Peter Bradshaw (70/100, inferred): The critic finds Ridley Scott's return to the Alien universe grandiose and muddled, though very watchable with a scene-stealing performance from Michael Fassbender as the android David. It lacks the central killer punch, satirical brilliance and tough rationalist attack of the original Alien. [Read](https://www.theguardian.com/film/2012/may/30/prometheus-review)
- **The Hollywood Reporter**, Todd McCarthy (70/100, inferred): The critic finds it a visually stunning but not classic return to sci-fi by Ridley Scott that caters too much to audience expectations; praises the technical achievements and performances but notes it falls short of being a benchmark like Alien or Blade Runner. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/prometheus-film-review-330414/)
- **The Independent** (70/100, inferred): The critic finds it a tremendously enjoyable if slightly cheesy return to the Alien universe with familiar pleasures, praising the entertainment value despite not being groundbreaking. They single out the grotesque alien birth scenes and Fassbender's android for note. [Read](https://www.independent.co.uk/hei-fi/entertainment/scott-s-space-odyssey-is-spot-on-7810723.html)
- **Evening Standard** (65/100, inferred): The critic finds Prometheus not quite up to the hype and closer to the original Alien than claimed, being overblown and overlong with a bossy score, but praises its scary monsters, Fassbender's terrific android performance, and its status as a fascinating franchise development and amazing spectacle. [Read](https://www.standard.co.uk/culture/film/prometheus-review-7804441.html)
- **Vulture**, David Edelstein (65/100, inferred): Praises the film's exploration of origins and sci-fi saga elements, noting it tells a bigger story well with satisfying climax, but misses the visceral body horror and Giger influence of the original Alien, making it feel inorganic. [Read](https://www.vulture.com/2012/06/movie-review-prometheus-alien-prequel.html)
- **Little White Lies**, Matt Bochenski (5/3/3): The critic calls it an overreaching folly that is visually spectacular but intellectually wayward and narratively unfocused, with a logical flaw at its heart. They single out the exquisite visuals and strong performances, particularly Michael Fassbender as the android David and Noomi Rapace in a standout scene. [Read](https://lwlies.com/reviews/prometheus)
- **The Times**, Cosmo Landesman (60/100, inferred): The critic praises wonderful moments and subtle details but criticizes serious flaws including it being hard to follow with creature confusion by the end. [Read](https://www.thetimes.com/culture/film/article/prometheus-3j2d0lc6t60)
- **Time Out**, Tom Huddleston (3/5): Calls it an expensive, ideas-heavy sci-fi horror but ultimately just another monsters-in-space movie with a flat script and thin characters. Praises the crisp photography, stunning design and bracing set pieces but notes it falls short of expectations. [Read](https://www.timeout.com/movies/prometheus)
- **Empire**, Ian Nathan (40/100, inferred): The film boasts Scott's visual flair and ambition in exploring big ideas and the Space Jockey backstory but suffers from a poor script, thin characters, lack of suspense and atmosphere, leaving viewers with an empty feeling. [Read](https://www.empireonline.com/movies/reviews/prometheus-2-review/)
- **Slant Magazine** (30/100, inferred): The film pesters audiences with thin profundities and cornball cosmic mysticism while attempting fan-service through unresolved plot threads and high-minded pretensions that fail to deliver satisfying answers or thrills. [Read](https://www.slantmagazine.com/film/prometheus/)
- **The New Yorker**, Richard Brody (10/100, inferred): The review dismisses the film as lacking inspiration, substance, and humor, relying instead on pseudo-mythological bombast and a lumbering audiovisual scheme. The earnestness and cast are singled out for complaint. [Read](https://www.newyorker.com/culture/richard-brody/what-not-to-see-this-weekend-prometheus)
- **Los Angeles Times**, Kenneth Turan: The film is seen as a disappointment by the director's high standards, with less to say than it thinks, though it delivers thrills and involvement beyond much summer fare. Production design, cinematography, and storytelling skill are praised. [Read](https://www.latimes.com/science/la-xpm-2012-jun-07-la-et-prometheus-20120608-story.html)
- **The New York Times**, A.O. Scott: The critic finds visual grandeur and awe in the first hour but notes disappointment as the story and themes become clearer. Scott's sense of scale and the 3-D are singled out for praise. [Read](https://www.nytimes.com/2012/06/08/movies/prometheus-by-ridley-scott-with-noomi-rapace.html)
- **Variety**, Justin Chang: The film remains earthbound in narrative terms despite elaborate visuals, hinting at higher intelligence without showing much of its own. Visual design and a squirm-inducing sequence are highlighted positively amid complaints about volume and lack of menace. [Read](https://variety.com/2012/film/reviews/prometheus-1117947665/)
- **Collider**, Matt Goldberg (B): The film overreaches in trying to answer questions from the original Alien while delivering a self-contained mystery. It succeeds through its gorgeous visuals, thrilling pace, sci-fi horror, and strong performances, especially Michael Fassbender's. [Read](https://collider.com/prometheus-review/)
- **Eye for Film**, Anton Bitel (75/100, inferred): The critic finds it a film full of big ideas and even bigger spectacle, praising the grand scale, creature effects, and philosophical questions about origins of life, while noting it may disappoint hype but stands on its own terms. [Read](https://www.eyeforfilm.co.uk/review/prometheus-film-review-by-anton-bitel)
- **/Film**, Germain Lussier (7/10): The critic finds the film overly ambitious and entertaining but flawed, with too many plot threads that muddy the narrative. They single out the dense, exciting first half and original visuals for praise while noting the lack of focus compared to Alien. [Read](https://www.slashfilm.com/521459/prometheus-review-ridley-scotts-overly-ambitious-entertaining-almostalien-movie/)
- **NME**, Owen Nicholls (70/100, inferred): The critic acknowledges flaws in plotting and characterisation but urges viewers to see the film anyway, praising its stunning visuals in every frame and Michael Fassbender’s standout performance as the android David. The verdict highlights the film’s audacious ambition despite its imperfections. [Read](https://www.nme.com/blogs/the-movies-blog/prometheus-youll-be-spitting-acid-by-the-end-credits-769286)
- **Digital Spy**, Emma Dibdin (3/5): The review calls the film consistently entertaining with fresh body horror and breathtaking visuals but ultimately empty at its core, lacking cumulative dread or emotional impact. It singles out Noomi Rapace’s performance as providing the needed heart amid the spectacle. [Read](https://www.digitalspy.com/movies/a384564/prometheus-review-ridley-scott-returns-to-his-alien-sci-fi-roots/)
- **The Wrap**, Alonso Duralde (55/100, inferred): The critic finds 'Prometheus' a sleek but ultimately disappointing prequel that delivers scares and strong performances yet fails to match the original 'Alien' films. He singles out the tension and horror in a surgery-machine sequence involving Noomi Rapace for praise while criticizing the overly explanatory script. [Read](https://www.thewrap.com/prometheus-review-serviceable-sci-fi-flick-doesnt-live-alien-legacy-42641/)
- **Den of Geek**, James Peaty (2/5): The critic finds the film a disappointment that fails to deliver on its hype, undermined by weak story logic, lack of tension, and an inability to balance pretensions with franchise conventions. He singles out the director’s strong eye for set design and visual composition, especially on the ship and in isolated sequences, for praise. [Read](https://www.denofgeek.com/movies/prometheus-review/)

## Details

- **Director:** Ridley Scott
- **Director:** Ridley Scott
- **Writer:** Jon Spaihts, Damon Lindelof
- **Cinematography:** Dariusz Wolski
- **Editor:** Pietro Scalia
- **Music:** Marc Streitenfeld
- **Production design:** Arthur Max
- **Costume design:** Janty Yates
- **Producer:** Ridley Scott, Walter Hill, David Giler
- **Cast:** Noomi Rapace as Elizabeth Shaw; Michael Fassbender as David; Charlize Theron as Meredith Vickers; Idris Elba as Janek; Guy Pearce as Peter Weyland; Logan Marshall-Green as Charlie Holloway; Sean Harris as Fifield; Rafe Spall as Millburn
- **Runtime:** 2h 04m
- **Certificate (MPA):** R
- **Release (the US):** 8 June 2012
- **Genres:** Science Fiction, Mystery, Horror
- **Budget:** $130 million
- **Box office:** $403 million
- **Trailer:** https://www.youtube.com/watch?v=cJMIzdf1eo8

## Where to watch in the US

- Peacock: streaming, hd, leaving 2026-10-01
- Amazon Prime Video: add-on
- The Roku Channel: add-on, hd, leaving 2026-10-01
- Apple TV: rent $3.99, hd
- Amazon Prime Video: rent $3.99, uhd
- Amazon Prime Video: buy $4.99, hd
- Apple TV: buy $14.99, hd

*Checked 2026-09-19.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, IE, IL, IS, IT, JP, KR, LT, MX, NL, NO, NZ, PA, PE, PL, PT, RO, RS, SE, SG, SI, TR, UA, US, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2013: Best Visual Effects (nominated)
- Satellite Award for Best Sound 2012: Satellite Award for Best Sound (nominated)
- Satellite Award for Best Visual Effects 2012: Satellite Award for Best Visual Effects (nominated)

## If you liked this

- *Alien* (1979), Fi1m 92: The film this is circling back to, and proof that Scott once knew when to stop talking — [Fi1m page](https://film.one/film/alien.md)
- *Solaris* (1972): Tarkovsky asks the same questions about contact and lets the silence do the answering
- *Sunshine* (2007): Danny Boyle’s crew of scientists, a mission to the sun, and a last act that also loses its way
- *The Thing* (1982), Fi1m 88: Carpenter’s isolated base, one creature and a cast who behave like adults for most of it — [Fi1m page](https://film.one/film/the-thing.md)
- *Under the Skin* (2013): Glazer’s alien in Glasgow; body horror and a stranger’s curiosity done with almost no dialogue

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© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/prometheus