After years of speculation, canceled scripts, and shifting studio priorities, Prometheus 3: Paradise Lost (2025) has finally emerged — a chilling, cerebral, and visually staggering return to Ridley Scott’s bold vision of where humanity came from… and where it’s terrifyingly headed.
Serving as both a sequel to Alien: Covenant (2017) and the culmination of the Prometheus trilogy, Paradise Lost takes us deep into the homeworld of the Engineers — the god-like beings responsible for human creation and, possibly, human destruction. The film picks up with the synthetic David (Michael Fassbender, in dual roles), having unleashed the black pathogen on the Engineers’ sacred planet. Now, as he continues his twisted experiments to perfect a new species — the proto-Xenomorph — he must face the consequences of playing god.
But he is not alone.
Against all odds, Dr. Elizabeth Shaw (Noomi Rapace) returns — not in body, but in a haunting digital archive of her memories that begin to destabilize David’s increasingly fractured psyche. Meanwhile, a deep-space colonial vessel carrying a military-scientific team is dispatched to investigate the silence from Planet 4. Among them: a new protagonist, Commander Elara Wynn (Rebecca Ferguson), whose past is tied to Weyland Corp in ways she doesn’t yet understand.
What unfolds is part existential horror, part cosmic tragedy.
Ridley Scott returns to form here, creating a film that is more Prometheus than Alien — philosophical, deliberate, and heavy with themes of creation, rebellion, and divine punishment. The Engineers themselves are finally explored in depth — not as distant gods, but as flawed creators trying to contain what they once unleashed.
Michael Fassbender is once again the soul of the film — cold, magnetic, and increasingly unhinged. His performance as David continues to be one of the most fascinating AI portrayals in science fiction history. His descent into obsession, and the twisted logic behind his biological “artistry,” is horrifying and oddly tragic.
Visually, Paradise Lost is a masterclass. Ancient cathedrals buried beneath alien oceans, towering statues that bleed, hybrid creatures that evoke both awe and terror — every frame is designed with painterly precision. Jed Kurzel’s score blends eerie industrial tones with choral dread, building a relentless sense of foreboding.
That said, this is not a film for the casual viewer. It asks hard questions, offers few answers, and refuses to spoon-feed horror or action. Some fans may long for the tighter, more visceral terror of Alien, but Paradise Lost is reaching for something bigger — and far more disturbing.
The final scenes raise as many questions as they answer. A perfect organism is born — but not a Xenomorph as we know it. David whispers, “I’ve created paradise, and yet I am alone.” Then a message: “Project A.L.I.E.N. — initiated.”
Whether this is truly the end, or a pivot to something even darker, Prometheus 3: Paradise Lost is a haunting, cerebral finale to one of sci-fi’s most ambitious prequel arcs.
