The uncharted, lawless era of the 19th century Gold Rush, and the accompanying American dream notion that went with it—journeying thousands of miles for a better life with the hopes of striking it rich— are transposed to the world of sci-fi in Zeek Earl and Chris Caldwell‘s “Prospect,” a sci-fi/Western hybrid that debuted this week at SXSW.
A well-natured amalgam of both, say, “Star Wars,” and Duncan Jones‘ “Moon,” especially in its impactful first half, “Prospect” tells the story of a teenager (Sophie Thatcher) and her father (Jay Duplass) who travel to a remote alien moon’s toxic forest on the hunt for a rare substance, aiming to make a mint. Based on the director’s 2014 short of the same name, “Prospect” is a futuristic, post-apocalyptic sci-fi drama that reflects on America’s past. A visually splendid pastiche of more than a few science-fiction influences, the film is a low-budgeted affair running on an abundance of creative juices and maybe too many, in fact.
Aboard a space pod, orbiting an unknown planet, Cee (Thatcher) and her father are looking to mine the alien prizes which are individually worth more than $10,000. The planet turns out to be a moon that has turned green, filled with growing forestry and overflowing with pricey, much-sought-after gems. Not too long after landing on this ungoverned and anarchic planetoid, they encounter two determined and dangerous bandits on the hunt themselves for the unique gems (Pedro Pascal). Quarrels over trespassing and territory arise, but a deal is hastily struck: Damon, the father will lead the bandits to the precious gems and in exchange, they’ll split the profits, 50/50, but of course, as with any cinematic sci-fi mission, things don’t run as smoothly as planned.
As the journey for the prize continues, “Prospect” leans further into its Western influences and the sparse, minimalist feel of the original 1977 “Star Wars” certainly becomes a touchstone the movie seems to comfortably latch onto. What eventually ensues is a movie about survival and how greed can impair even the seemingly most-sound of moral judgments.
It doesn’t help the mission that there are other ruthless inhabitants roving the wilderness too. Andre Royo shows up as an earthly reject that wants to build a civilization on the Green Moon. Anwan Glover is a mercenary leader looking for his next kill, and Sheila Vand, in a role with no obvious narrative purpose, plays a starry, sword-wielding wanderer.
Earl and Caldwell wrote, directed and photographed “Prospect” and their personal vision shows. The world building is striking and intriguing us with a sense of discovery. Unique weaponry, chemical plants, and the gems themselves are ingeniously designed in matryoshka doll-like layers. Shot at the Hoh Rainforest in Washington State, the setting of the film is absolutely beautiful.
The filmmakers use their keen knowledge of practical effects to absorb the viewer into the milieu. A haunting image of Cee standing next to the horizon of a planet, which recalls some of Alex Garland‘s very best work including the recent “Annihilation,” is a highlight. A taxing sequence involving the amputation of an arm has all the aesthetics, creativity, and emotional heft that the some of the rest of the movie lacks. And there’s an artistry on display. The production, sound design, and bassy, dread-inducing score are top-notch.
However, the overwhelming problem with “Prospect” is the lack of character depth. While their visuals are on point, they don’t have fully-developed characters down yet, which consequentially forces the movie to rely on its performances. Mostly known for her small role in Fox’s “The Exorcist,” and despite the underwritten nature of her role, Thatcher is quite good as the quick-witted and fearless Cee and the actress commands the screen, outshining everyone. Best known for “Game of Thrones,” Pascal is less successful, chewing up the scenery and utilizing a thick southern accent that sounds like caricature.
As a minimalist sci-fi gold rush critique, “Prospect,” sometimes soars on its own wild ambitions. The filmmaker brilliantly set-up an atmosphere that feels uniquely cinematic and wholly original. But when impressive world-building is established and story takes over, “Prospect” quickly devolves into a mess of contrivances and overstuffed characters in its more problematic second half. Not quite a diamond in the rough and not just a lump of coal, “Prospect” ultimately doesn’t quite satisfy, but the filmmaker’s excavations do hold promise, perhaps yielding something rich at a later date. [B-]
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