RCGS Movie Review: Prometheus


“Take no part in the unfruitful works of darkness, but instead expose them.” Ephesians 5:11

In his Choruses from the Rock, T.S. Eliot famously wrote, “Men have left GOD not for other gods, they say, but for no God; and this has never happened before.” But this vaccum at the heart of Western Civilization during the twentieth century could not exist forever.  Humans need myths in order to live and structure our lives by. The Christian culture that finally faded in the mid 20th century in the West was an amalgamation of paganism and Christianity. For a thousand years, Christianity had the upper hand in controlling and taming paganism. However, paganism has returned to fill the void created by Darwin, Marx, and Freud. Yet, paganism cannot exist on its own merely as ritual; it must have philosophy and art. Thus, Ridley Scott’s very pagan 2012 Prometheus, although a brilliant, and, on a certain level, deeply moving work of art, is extremely deleterious.

“Theseus-Mosaic”, floor mosaic from a Roman villa, Loigersfelder near Salzburg, Austria. Center: Theseus kills the Minotaur; top:Theseus and Ariadne aboard ship: right: grieving Ariadne. See also 11-01-01/68-70 Size: 56,5 x 58cm Inv. II 20

Prometheus is a prequel to the Alien movie series, which, despite its ups and downs has produced a number of brilliant films. However, while the first two films, Alien and Aliens, continue to receive accolades and the other films usually are dismissed with scorn, it is often forgotten that the films have created an obsessive cult following and have inspired an entire engrossing universe of comics, video games, novels, and websites. Yet, this is not the case of a movie becoming a legend; the roots of the Alien franchise are much deeper and darker than the mind of Ridley Scott or James Cameron.


The alien series began with artist H.R. Giger’s painting Necronom IV, which serves as the basis of the Xenomorph of Alien. A practicing Satanist, Giger’s paintings and sculptures are clearly demonic, pornographic, and suffocating depressing. Many of them depict violent sodomy as well as human reproduction as grotesque, violent, and menacing realities. Geiger also has a number of transhumanist works showing the combination of human and animal life with technology. Geiger’s “landscapes” depict a labyrinthine hell composed of technology interwoven with organic matter. It has been often said that Geiger’s work, like the Alien franchise itself, a “mirror to nature”, and reveals the exploitive violent nature of the human organism and human civilization. But, as a Christian, dear reader, this author sees something more sinister, and Prometheus, while being perhaps the most philosophically dense of the Alien series is the perhaps the most dangerous.

Prometheus is not just ancient aliens, but it kind of is. It tells the story of a group of aliens called engineers who “engineered” life on earth via some sort of process involving one of the aliens ingesting a substances that causes his body to distingerate and trigger the emergence of organic life on earth—this is probably some reference to the Osiris-Orpheus-Kabbalist-Noah myth of the disintegration of the body of a demigod and its future reintegration. As you might guess, reader, in the future, humans develop the technology to seek out these engineers using star maps that the engineers left behind. The humans arrive at a planet, which they think belongs to the engineers, but learn that it is in fact a military installation at which the engineers were working on biological weapons, which they were going to use to wipe humans off the face of the earth. However, things had gone wrong and the biological weapons, including the ancestors of the “face huggers” from the alien franchise, turned against their creators. And, predictably, when the humans uncover the genetically engineered monsters, further mayhem ensues. We are left with one human and one robot at the end of the movie on a search for the real creators (I am guessing that Prometheus’ sequel, Alien: Covenant, is going to reveal that humans of some kind are the real gods—like in Interstellar—just so we can have a full blown masonic/gnostic/Satanic mythology).


There are numerous asides to mythology and traditional religion throughout Prometheus. Like the aliens in Indiana Jones and the Crystal Skull, the engineers seem to provide a key to all mythology. All of the charmed swords, helmets, rings, etc.in human stories are probably just alien technology or something that the aliens taught the moronic homo sapiens to do. In Prometheus, there are a number of monster filled vases that are obvious references to the Pandora story (in Hesiod, it is a jar not a box that she opens). Also, apparently according to the original script for Prometheus, Christ was an engineer who came to earth to tame the violence of the human race, but humans killed him; thus, the need for the engineers to wipe out humanity. This contemporary use of myth has the effect of debunking Christianity and accounting for the commonality among various world myths. While making the Tom Hanks / Da Vinci Code plea, “it’s just a movie!”, Prometheus is meant to serve as a stream feeding into the emerging gnostic mythology that Christians got it all wrong and the nasty Old Testament and pagan mythology of a vengeful God is incorrect and needs to be replaced by the new true religion. The view that aliens could have created human life is expressed by a number of leading scientists including Richard Dawkins and Francis Crick as well as innumerable philosophers, artists, and movie directors, and it is quite clear that their dark lord Satan is gearing up for his new kingdom on earth and is thus upping the propaganda.

Like most works of art, most of the Alien franchise is about reproduction. However, in the movies, from the initial face hugger the causes a chest exploding monster in the original Alien, to the human-alien hybrid birth in the 1997 Alien Resurrection, reproduction, as in Giger’s mythology, is always gross and violent.  In Prometheus, there are two key scenes of reproduction and birth. A woman conceives an alien in her womb (minotaur myth?) and gives birth to it via C-section and then kills it. And there is a odd fight between an engineer and primitive “face hugger” that mutates into an act of reproduction as the engineer turns into a host for the birth of what looks like the very first xenomorph at the end of movie. With flatlined birth rates throughout the West, one wonders that these disgusting depictions of birth may be a little bit overkill, but maybe the devil wants to make sure we get the message.2Yes-its-Buck-Rogers-here-to-save-the-day

Prometheus is a deeply haunting movie. It is a movie for nerds and smart people and philosophers and does not make too many overtures to the average Joe or Jill as Christopher Nolan has attempted to do with his last few movies (e.g., New York Yankees jokes in Inception). The gore in the movie is, if anything, a distraction and has an almost ritualistic effect-i.e. perverted reproduction for the sake of creating violent monstrous life. The suspense of discovering new lifeforms and planets or uncovering the deeper meaning of it all is exciting, and there a number of awe-inspiring visuals. However, RCGS cannot recommend the movie for anyone outside of scholars or teachers or anyone who has a duty in exposing the wickedness in the world to the light.


Like all horror and most sci-fi movies, Prometheus is meant to make one afraid. However, like all powerful horror films, e.g., Jaws, Friday 13th, A Nightmare on Elm Street, Prometheus makes one feel scared on a deep, existential level. It makes one afraid of his or her own body, of the natural world, of technology, of God, of reproduction, of everything. And herein lies the danger of Prometheus. We are living in a world, plagued by anxiety and depression, that is becoming an increasingly literal hell on earth. What is needed is more light not more fear.


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