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[Prediction] ‘Prometheus 2’ Is Not Going To Happen!

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Even with all of the flawed logic and character decisions (and there’s plenty of both) taken into consideration, I’m still a fan of Prometheus. I revisited the film on Blu-ray recently and aesthetically it really holds up, it’s an enormously watchable film. So while I’d certainly be down for a sequel, it’s a bummer to think that it’s probably not going to happen.

The reason? Momentum. It just doesn’t seem to be there anymore. Back in March there was a lot of back and forth about Damon Lindelof creatively painting the franchise into a corner and, regardless of where the blame lies (if indeed it lies anywhere), I sort of agree. Not from a creative standpoint, but a marketing one. I know that’s a weird place to operate from as a film fan, but hear me out.

Prometheus hobbled its franchise potential by being the ultimate half-measure. It wasn’t enough of an Alien film to invest its audience in the Weyland-Yutani/pre-Nostromo mythology that original writer Jon Spaihts planned on exploring in the new trilogy he was conceiving. And this isn’t necessarily Damon Lindelof’s fault, either. Spaihts’ draft introduced the Engineers after all. So even though his script actually takes place on LV-426 and implies that Rapace’s character Shaw had sent the distress signal that attracts the crew from Alien (not to mention featuring actual xenomorphs), he was already bringing some new ideas to the table.

When Lindelof was brought onboard to nudge those new ideas into the narrative spotlight (at Ridley Scott’s request mind you, it’s not like he snuck in and did all this without permission), that was the moment Prometheus likely lost its tether to any sort of trilogy involving the Weyland-Yutani corporation (as was Spaihts stated intent). However, by positioning itself as an Alien prequel (all coy statements aside – just look at the trailer), Prometheus also ensured that a significant chunk of its audience wouldn’t invest in the new mythology either.

I’d certainly be okay with two films featuring Fassbender and Rapace jetting around space looking for our “creators,” but are enough people really onboard with that to justify the cost? At a reported $130 million production budget (and a worldwide advertising budget that likely nears that figure) the film grossed $126 million domestic and $277 internationally for a worldwide total of $403 million. That’s “gross” not “net” so I’d guess that the film was only just approaching profitability before home video finally swung it into the black. And while $130 million is already a surprisingly modest budget for a film this size, it’s hard to pedal backwards and make a sequel for much cheaper. The entire appeal is the enormity of the thing, not to mention the fact that no one’s going to take a pay cut for this.

So here’s the dilemma (and this may be why Fox was “freaking out” six months ago) – either way the sequel probably makes less money than the original. There’s no way to put that “Alien prequel” curiosity back in the bottle, it’s gone. And while I’d (again) be okay with seeing an expansion of the new universe Prometheus hinted at, how many people are actually with me on that? Half the audience? $200 million worth of people at the (worldwide) box office? That’s not enough. $250M or $300M worldwide would still be more risk than incentive. Even if Scott and Fox made a truly great film the next time out it would be almost impossible to position it properly.

This isn’t a case like The Avengers or Avatar where the film made so much money that the studio is almost obligated to follow it up. This is a film that made just enough to think about a sequel. And, at this point, they may be wondering whether they should think about it at all. Even if they’ve hired a writer and are in development (which they’ve announced), I’d be surprised if it actually happens. I’d love to be wrong, of course. But I have a feeling the next time we see something even tangentially related to Prometheus on the big screen, it’ll be in an Alien reboot.

Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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