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A teaser poster was revealed on December 14, , with the tagline, "The search for our beginning could lead to our end. The teaser trailer was released on December 22, Reaction to the trailer was considered to be positive among WonderCon attendees and on Twitter, and it received nearly three million views in the three days following its release.
On April 10, , media outlets were shown a 13 minute montage of scenes from the film's opening in 3D at the Vue Cinema in Leicester Square, London. On April 29, , the international launch trailer debuted in the United Kingdom on Channel 4 during the first advertisement break of the TV show Homeland.
Viewers were encouraged to share their opinions about the trailer on Twitter, some of which were then shared in a live broadcast during a later break. This marked the first time that viewers' tweets were used in a broadcast advertisement. Alongside the trailer, a competition was launched on the social platform Zeebox, offering viewers a chance to win tickets to the film whenever Zeebox detected the advertisement airing.
On May 8, , the advertisement became subject to an investigation by the British broadcasting regulatory body Ofcom for allegedly breaching broadcast rules when a voice over encouraged viewers to book tickets while the advertisement played and with the Channel 4 logo onscreen.
The act potentially broke a rule that advertising and teleshopping must be clearly distinguishable from editorial content. Although marketers typically avoid collaborating with adult-oriented films to focus on reaching broader audiences, the film attracted several promotional partners including Coors, Amazon, and Verizon FiOS. Amazon directed interested users to purchase tickets through Fandango, and placed promotional material in products shipped to customers; this was the first time that Amazon had allowed such marketing by an external company.
The event was facilitated by BumeBox, which culled audience questions from social sites and delivered them to reporters to ask at the event.
A viral marketing campaign began on February 28, , with the release of a video featuring a speech by Pearce, in character as Peter Weyland, about his vision for the future. Set in , the video presents a futuristic vision of a TED conference, an annual technology and design event held in Long Beach, California.
The segment was conceived and designed by Scott and Lindelof, and directed by Scott's son, Luke. The production was made in collaboration with, and made available through TED because Lindelof wanted to introduce new audiences to the conference itself.
TED community director Tom Rielly helped gain approval for the use of the TED brand, which had not previously been used for promotional purposes. He was involved in designing the conference, preparing an "extensive briefing on all the visual and audio aspects of a TEDTalk circa and a corresponding speculation on how things would work in the future", that included flying video cameras and "live Twitteresque feedback". Rielly claimed that the association generated millions of new visitors to the TED website.
The video's release was accompanied by a fictional TED blog about the conference and a tie-in website for the fictional Weyland Corporation. On March 6, , the Weyland website was updated to allow visitors to 'invest' in the company as part of a game to reveal new Prometheus media.
During the WonderCon, attendees at the film's panel were given Weyland Corporation business cards that directed them to a website and phone number. Calling the number resulted in the caller being sent a text message from Weyland Corporation that linked them to a second viral video. Narrated by Fassbender, the video is presented as an advertisement for the "David 8" android, portrayed by Fassbender.
An extended version of the video was released on April 17, The advertisement details "David"'s features including its ability to seamlessly replicate human emotions without the restrictions of ethics or distress. Accompanying the video, a full page "David" advertisement was placed in The Wall Street Journal; a Twitter account operated by a David8 was revealed, allowing Twitter users to ask the character questions; and a partnership with Verizon FiOS was launched, offering a virtual tour of the Prometheus spaceship.
In the video, Shaw requests Weyland's aid to seek out alien life, in a phone call monitored by Yutani, a fictional company from the Alien series. In France, the Saint-Martin ghost train station was converted in appearance to resemble alien architecture from the film, visible to passing commuters. The campaign continued following the film's release with a website referencing the philosophical novel Thus Spoke Zarathustra by Friedrich Nietzsche, and a further video of Pearce's Weyland, quoting the book.
Discussing the videos at the May Digital Hollywood conference, Lindelof claimed that they originated from the question of the film's status as an Alien prequel. It was decided that creating videos with the film's stars would generate more interest than anything that could be said in regards to its connection to the Alien films. He furthered that the challenge in creating the videos was that they needed to be good enough to justify their existence, but not so important that their absence from the final film would be an issue for audiences.
It was simultaneously released in IMAX theaters and in 3D, and it is encoded for D-Box motion seats that provide physical feedback to the viewer during the film.
In North America, audience tracking showed high interest among males of all ages, but low interest among females. The week preceding release saw conflicting opinions on whether the film or Madagascar 3: Europe's Most Wanted would place number 1 for the weekend during their simultaneous release. Additionally, the online tracking for Prometheus surged with each new piece of promotional footage.
However, pre-release tracking is usually less reliable for animated films; since Madagascar 3 was the first truely family-oriented film of the summer, many speculated that there would be large demand for it.
Prometheus was also in the disadvantage of a less wide release 3, theaters against 4, theaters for Madagascar 3. Furthermore, the R rating of the film was considered a limiting obstacle. Prometheus was initially released in 15 markets from May 30 to June 1, — about a week before its North American release. The earlier start in these countries was timed to avoid competition with the start of the UEFA European Football Championship the following week.
The figure placed it as the number 3 highest-grossing second-place opening, the number 10 highest-grossing opening for an R-rated film, and it marked Scott's second highest-grossing opening behind the thriller Hannibal Reviews were frequently praising of both the film's visual aesthetic and design, and Fassbender's performance as the android David received almost universal acclaim.
However the plot drew a more mixed response, with criticism of plot elements that remained unresolved or were predictable, tempered by appreciation for the action and horror set-pieces. The Hollywood Reporter's Todd McCarthy called the film's visuals vivid, stunning and magnificent on a technical level, singling out the performances of Fassbender, Rapace and Theron for praise, but lamented that the film catered too much to audience expectations, making it predictable.
Time Out London's Tom Huddleston felt the plot was "flat" and "predictable", the characters "emotionless", and that while the film was "perfectly entertaining", it did not live up to pre-release expectations.
Emanuel Levy cited the plot as his only complaint with the film, stating that it is unable to follow through with its philosophical ideas. Roger Ebert gave the film 4 out of 4 stars, labeling it a "magnificent Ebert thought that the plot, in raising questions and not answering them, made the film "intriguing" and in the "classic tradition of golden age sci-fi". Total Film's Jonathan Crocker however offered that the plot successfully integrated itself with Alien's mythology while offering its own original ideas.
Entertainment Weekly's Lisa Schwarzbaum was positive towards the cast, particularly Rapace, and the cinematography. Salon's Andrew O'Hehir offered that the film was "somber, spectacular and ponderous," but that the " portentousness and grandiosity O'Hehir also mentioned Wolski's cinematography and Max's production design.
The New York Times' A. Scott criticized the story as weak, undermining its "lofty, mindblowing potential" with "bits of momentarily surprising information bereft of meaning or resonance", but described Rapace as a "fine heroine, vulnerable and determined". In a negative review, Variety film critic Justin Chang described the film's structure and genre as being unable to handle the philosophical undertow of the plot, and felt Prometheus was "lazily deferring" key plot points under the presumption that a sequel would be made.
The Guardian's Peter Bradshaw was less critical but thought that Prometheus "[lacked] the central punch of Alien", calling the film "more grandiose, more elaborate — but less interesting". The Village Voice's Nick Pinkerton stated that the film is "prone to shallow ponderousness", that can "mimic the appearance of an epic, noble, important movie", but fails to "payoff".
He criticized Rapace and Marshall-Green for failing to instill interest in their character relationship, but added: "there are a few set pieces here that will find a place of honor among aficionados of body horror and all things clammy and viscous". Lovecraft, to the drawings of William Blake. In North America, the DVD and Blu-ray disc versions of the film were listed for pre-order in partnership with Amazon, a week before the film had been released in theaters.
A limited number of tickets to the film were offered as a pre-order incentive. In a June , interview Scott stated that the home release would feature an extended cut of the film featuring an additional 20 minutes of footage and up to 30 minutes of deleted scenes.
In June , FX obtained the rights to the film's network premiere. During the March 17, WonderCon, Scott stated that the film leaves many questions unanswered, and that these could be answered in a sequel, saying "If we're lucky, there'll be a second part. It does leave you with some nice open questions. Further detailing his sequel concept, Scott stated that it would follow Shaw to her next destination, "because if it is paradise, paradise cannot be what you think it is.
Paradise has a connotation of being extremely sinister and ominous. At the same time, I do feel like [Prometheus] might benefit from a fresh voice or a fresh take or a fresh thought. Alien Anthology Wiki Explore. The Alien Drone Soldier Queen. Recent blog posts Forum. Explore Wikis Community Central. Register Don't have an account? Edit source History Talk 0. Elizabeth Shaw Noomi Rapace David Michael Fassbender Peter Weyland Guy Pearce Janek Idris Elba Charlie Holloway Logan Marshall-Green Meredith Vickers Charlize Theron Millburn Rafe Spall Fifield Sean Harris Ford Kate Dickie Chance Emun Elliott Ravel Benedict Wong Shaw's father Patrick Wilson Young Shaw Lucy Hutchinson Last Engineer Ian Whyte Sacrifice Engineer Daniel James Ghost Engineer John Lebar Shaw's mother Giannina Facio Prometheus Computer Voice Branwell Donaghey Vladimir Mercenary Vladimir Furdik Sheppard Mercenary CC Smiff Taplow Mercenary A fire starts somehow and the humans' life pod ejects, landing near a penal colony on Fiorina Only Ripley and one other facehugger survive.
Ripley kills the resulting alien, then dies by suicide by jumping into a furnace. They surgically remove the alien queen in order to breed the species, which escape on board the Auriga, killing many. Auriga crashes into Earth's atmosphere and blows up. The Ripley clone, meanwhile, escapes aboard the Betty with the android Call. Digital Spy has launched its first-ever digital magazine with exclusive features, interviews, and videos.
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Type keyword s to search. This content is imported from YouTube. Do you have to rethink the whole bloody thing and simply use the word to franchise? These comments are similar to what Scott said in June , though at the time, he seemed unsure of the franchise's future now that The Walt Disney Company owns it.
What was the purpose of the vehicle and what was the purpose of the eggs? That's the thing to question — who, why, and for what purpose is the next idea, I think. Whether Disney believes there's still life in the franchise remains to be seen, though the company has hinted that it wouldn't let any of the properties it gained through its acquisition of 20th Century Fox go to waste.
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