Since I've apparently offended both of the fans of Prometheus I suppose I'd better elaborate on a few of the things that made it such a disappointment. Insofar as Scott himself is concerned, I suggest you (not the parent, just folk in general) watch/listen to any of his recent interviews and see the smugness and dismissiveness of the fans' criticisms for yourselves. Anyway, back to the film. We had:
-An alien astronaut that was single-handedly responsible for all of human evolution, while handwaving over all the other flora and fauna that populates the Earth.
-An insufferable man-child anthropologist who throws his rattle out of the pram when faced with the revelation that a race from eons past don't instantly greet the explorers on their arrival on a world that was apparently pinpointed using only a handful of dots painted on a wall by cavemen.
-A crew so unbelievably stupid that it's a wonder they were able to don their spacesuits at all.
-An android whose actions are never explained, just followed by a lot of shouting and loud sound effects in the hope that no-one would notice.
-A leading character whose sterility is drummed into the audience with as much subtlety as her involuntary pregnancy (Prometheus has nothing to do with Alien, honest!), to say nothing of the major surgery that is seemingly no impediment at all when running and jumping about just when the action was drying up.
-An antagonist whose appearance and behaviour run counter to what was explicitly stated previously, simply because Scott didn't want to or couldn't use the original Alien again.
-A disembodied, reanimated head. One of many shout-outs to a franchise that is both shit-upon and declaimed as having nothing to do with with the film at hand.
I would go on but the hour is late and I can't help but think that the only reason that Scott's only other watchable film since Alien was so because the source material (Hannibal) was two inches thick and that left little room for "vision". Whatever skill Scott possessed back in the 70's has apparently deteriorated into a sense that he can do no wrong and to hell with the people who actually watch his style over substance dreck. Suspension of disbelief is a thing to be used sparingly, not as a catch-all to excuse a myriad of plot-holes and unexplained character motivations.
I would dearly love to see Man in the High Castle adapted for film; it's a good story that deserves Hollywood treatment but, frankly, Ridley Scott has had his day and there are any number of film-makers who could do it better.