“There’s a familiar phenomenon of filmmakers hiding their loss of inspiration behind the ostensible social or political significance of their work. Ridley Scott does as much in “Prometheus”—not with politics but with chthonic mumbo-jumbo, pseudo-religious, pseudo-biological, and pseudo-mythological bombast, and a lumbering audiovisual scheme to match.” That’s how Richard Brody opens his “What Not To [...] Read full article