Paradise

I saw Prometheus upon release and really felt it was a total miss. The acting was bad, it had a ton of bloat. Fassbender must have a strong back because he carried the film. Covenant hit certain sweet spots, but missed on a lot. This takes the best part of the films, the best character, and shifts focus to a clear story and you really see how both unfold together. I quite enjoyed it.

A few of the scene changes are pretty stiff and stick out a bit, but it didn't detract from my overall enjoyment of the film. I agree with a previous review regarding the song change during the ending. I think with a little more polish this could be the gold standard. I feel it could be a bit tighter in certain spots like the Weyland reveal that he is on the ship.

JobWillins did a fantastic job with this and it's quite the feat. A great ride and the only way I'd prefer to watch either film.

This is a very strong edit combining the two Alien prequels, which (mostly) improves on both. The scattering of certain scenes and extras across the film was very well done. Scenes were intercut at appropriate moments. The edit shifts focus more towards Covenant as the edit progresses, which is the weaker of the two films.

The rescore was well chosen, bar the last scene, which worked better with Wagner's Das Rheingold. I especially liked I Want You by the Beatles. My main critique is that a few unnecessary scenes were kept - such as the two Prometheus pilots discussing their bet, or Shaw and Janek explaining the plot to the audience before heading out to meet the Engineer - along with some poor dialogue. Job Willins could have been even more aggressive with a few cuts, however the pace is quite good despite the edit being almost 2hrs 40mins.

All in all, an excellent edit, which does the best it can with the original films, which are a little weak.

I want to say that for 99% of the edit, I loved it. Then the ending came. In the theatrical cut of Covenant, David has the A.I. play Richard Wagner's Entry of the Gods into Valhalla. It's a significant piece for David as it is the piece Weyland has him play in the beginning. It's quiet though signifying that David is still the creation, but at the end of the film David becomes the creator and the full orchestra is playing. The edit replaces this with Carry That Weight, a good song, but it doesn't have any story importance. Everything else from the edit is brilliant. It adds and removes the perfect amount and it's just brilliantly edited by someone who respects the subtext of these films.