– Roger Ebert, Chicago Sun-Times

(CBS News) Reviews are in for outer-space thriller “Prometheus,” and they’re mostly positive.

The film, which marks “Alien” and “Blade Runner” director Ridley Scott’s return to sci-fi, has scored a 74 percent “Fresh” rating from critics on RottenTomatoes.com.

Here’s what some of them had to say:

Pictures: Designing “Prometheus”Pictures: Summer films 2012

“‘Prometheus’ elicits ‘Alien’ memories for viewers who have them, but works on its own, too, as a model of a contemporary (and, as is the contempo mode, long-winded) sci-fi horror pic.” – Lisa Schwarzbaum, Entertainment Weekly.

“Strikingly beautiful, expertly paced, vividly detailed and scary as hell, it holds you in its grip for its entirety and doesn’t let go. You’ll squeal, you’ll squirm – at one point, I was curled up in a little ball in my seat in a packed screening room – and you’ll probably continue feeling a lingering sense of anxiety afterward. That’s how effective it is in creating and sustaining an intensely suspenseful mood.” – Christy Lemire, Associated Press.

“The virtuosity on display makes the weakness of the story – the screenplay is by Jon Spaihts and Damon Lindelof – all the more frustrating. I’ll avoid spoilers here, but “Prometheus” kind of spoils itself with twists and reversals that pull the movie away from its lofty, mind-blowing potential. Geeks and dreamers will hold onto scraps of splendor and wish for more.” – A.O. Scott, New York Times.

“‘Prometheus’ damn near lives up to the unsustainable hype, at least at the level of cinematography, production design, special effects and pure wow factor.” – Andrew O’Hehir, Salon.com.

“Ridley Scott’s ‘Prometheus’ is a magnificent science-fiction film, all the more intriguing because it raises questions about the origin of human life and doesn’t have the answers. It’s in the classic tradition of golden age sci-fi, echoing Scott’s ‘Alien’ (1979), but creating a world of its own. – Roger Ebert, Chicago Sun-Times.

“This project started life as an intended prequel to ‘Alien’ but morphed into something else. Unfortunately, 카지노사이트 the closer it comes to a climax, the more you feel the elements being lined up to set the stage for a sequel to this film, most of all in a coda that feels like a craven teaser trailer for the next installment.” – Todd McCarthy, Hollywood Reporter.

Tell us: Do you plan to see “Prometheus”?

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Whether it was a world-renowned beauty like Cindy Crawford . . . “What I always say is the way Herb photographed you is the way that you wished you looked when you got up in the morning,” Crawford said . . . . . . or singer-songwriter k.d. lang . . . “I think Herb had a way of understanding how to exude the beauty within,” lang said. “I really do. He knew the balance of the soul and the body, and where the beauty was.” “I presume there got to be a point where people really wanted him to take their picture?” asked Braver. “Oh, absolutely,” said Charles Churchward, a former design director at Conde Nast. “You know, everybody wanted him to take their picture!” Ritts’ friend Churchward thought it was time for a book that celebrated the man as well as the work. “I think people want to know more about who’s behind the camera and something about them,” Churchward said. “And I think that’s what makes them last. And that’s why I wrote the book.” Churchward said that Ritts, who grew up in L.A., introduced a new kind of glamour photography. “Herb had been raised with light, with the beaches, with the sun,” he said. “Everybody before that was in the studio shooting and controlling everything. Suddenly he was able to take the same things outside and make people more natural and yet still have that glamour.” Ritts’ photo of his pal Richard Gere – snapped while the two of them were waiting for a tire to be changed – helped launch both their careers in 1978. Ritts once told CBS News, “Three months later, Vogue, Esquire, Mademoiselle had run all the images from the gas station that I’d taken, which was kind of interesting. And I got paid for it.” Soon, he was getting photographing everyone, from Tom Cruise to Julia Roberts . . . hanging out at Vanity Fair’s Oscar party . . . and hosting his own celebrity-studded birthday bashes. In fact Cindy Crawford and Richard Gere (who were married for 4 years) met at one of Herb’s parties. She said Ritts was just fun to be around: “I mean, he was a mensch,” Crawford said. “I don’t know if you know that word. But he’s just a good guy. He was a total sweetheart. He loved people.” She still remembers the shoot for one of his most famous pictures . . . a bevy of supermodels. “The girls, we were jokingly [calling] it ‘Naked Twister,'” Crawford said. “And I think Herb knew all of us individually, and was friendly with all of us, and that there was a comraderie.” Another Ritts pal talked him into branching out. “Madonna suggested to Herb that he photograph one of her videos,” said Churchward, “and he never did anything like that. But he was game to try anything.” They made her “Cherish” video, and he shot “In the Closet” for Michael Jackson. But it’s his photographs that will be remembered most . . . on display recently at L.A.’s Fahey/Klein Gallery, where an overflow crowd gathered to remember their old friend, and his world.

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