Ridley Scott made Prometheus as a prequel of sorts to his groundbreaking outer-space horror film Alien; however, its scope wasn’t limited to just that as Scott designed a much broader canvas for it. Consequently, it was alternately similar to and divergent from the earlier sci-fi classic – both thematically and aesthetically. A group of people with diverse skills, based on a discovery by a pair of scientists (Noomi Rapace being one of them), have boarded a humongous space ship in order to undertake a fantastic voyage to a far-off planet in some far-off galaxy in search of the origin of humankind. But, upon reaching the said planet, they do not just get apprised about their evolutionary secrets, but also get attacked by a brutal and a nearly undefeatable extra-terrestrial species. Giving them company are, an icy blonde (Charlize Theron) who represents the company sponsoring this voyage, and a straight-faced robot (Michael Fassbender) whose intents might not really be straightforward. The film had its share of fine moments and noteworthy traits – it began well with an impending sense of mystery and doom, the scenes involving the aliens were chillingly accomplished, the frosty dynamics between the ‘employer’ and the ‘employees’ was very well established, and the 3D graphics was praiseworthy. However, its biggest undoing lied in Scott’s over-ambitious attempts at turning it into something overtly grand, perhaps stemming from his latent desire to emulate the likes of 2001: A Space Odyssey and Solaris, instead of restricting it to the cold-blooded chills of Alien with the right proportion of philosophical undertones.