The first Alien film without Sigourney Weaver and Ripley, Prometheus, set in 2093, sees Ridley Scott return to the director’s seat in what can certainly be seen as a prequel to the later films.

Visually impressive, deeply stylish, Prometheus is an ambitious genesis exploration as renowned archaeologist, Dr Elizabeth Shaw (Noomi Rapace – The Drop, The Girl With the Dragon Tattoo), and her partner, Charlie Holloway (Logan Marshall-Green – Across the Universe, Upgrade) follow clues to the origin of mankind. Initially based on earth, they are financed for a deep-space scientific expedition to discover the existence of the superior extraterrestrial species, the Engineers. But like all of the films in the series, nothing goes according to plan, even with the likes of Idris Elba (Beasts of No Nation, Thor) as captain and Charlize Theron (Bombshell, Monster) as company representative on board the space ship, Prometheus.

More adventure thriller than horror, Prometheus is something of a sumptuous hollow crown. But there is the magnificently manipulative Michael Fassbender (Shame, Steve Jobs) as the android, David.

Nominated for the 2013 best visual effects Oscar.

Rating: 60%

‘The Many Saints of Newark’

A rambling prequel to The Sopranos, a teenage Tony Soprano (Michael Gandolfini – son of James Gandolfini, one of the most iconic of television mob bosses of all time) is heavily influenced by family – and uncle, Dickie Moltisanti (Alessandro Nivola – Disobedience, American Hustle) in particular.

It’s standard mob material as Dickie rises in the pecking order within the family, putting him at odds with older cousins, including Tony’s oft-absent dad, Johnny Soprano (Jon Bernthal – Baby Driver, The Accountant). But in a New Jersey seeing increasing violence and confrontation based around race, Moltisanti’s biggest challenge is former employee, Harold McBrayer (Leslie Odom Jr – One Night in Miami, Harriet).

Helmed by Alan Taylor, occasional director of The Sopranos, The Many Saints of Newark is a low key, character-based feature that fails to link effectively with the later television series. There’s simply too much time between the two with a distinct lack of connect. The result is a solid yet, overall, uninspiring narrative.

Rating: 56%