The sun in Boyle’s story is Schroedinger’s box: a moment of absolute uncertainty that is at the core of scientific belief. It is, essentially, exactly like religious belief. The Belief is that this sacrifice will save the world. The final frames are pointed images; the shot of the bomb falling into the sun looks like the Ka’bah – the lodestone of Muslim worship – in Mecca. The hero riding within the belly of this is shown at the moment of detonation both alive and dead. A miracle of quantum physics. It is unlikely that Boyle was unintentional in making this visual association.
While  has no architect, it is the modernist Master Art's finest hour. American Cold Warriors are shown within well ordered worlds, unshadowed by doubt. At the time it was made it was the fullest flowing of Corbusier's dream of Total Design, but instead of steam ships it was enormous space stations that housed the design and slimmed down corporate identities developed in the 50 year rise of the modernist masters. It was also the first time the claim can be made for film making as the new Master Art. Whatever else Inception is about (and it is about a lot of really interesting things), it is acknowledging a changing of the guard. It is the moment when a filmmaker has seen himself, not subservient to architecture, but its master...As I pointed out, Nolan's architect, played by Ellen Page, is in no way a Master of her world. She physically smaller, under-dressed, and the least experienced character in the film. Nolan was imagining displacing the architect as God with the film director as God. Bold, but meta rather than transcendent.
Scott's is as bleak a perspective on the universe and our point of origin as I can imagine. - Unfortunately, as a movie, while all the parts were there, or almost there, they never came together. Call it the Kubrickian curse. Perhaps because I had such high hopes for Scott's return to scifi, I wasn't able to let it go. Or perhaps it is because, while Scott was clearly hoping to expand on Alien's infamous "body horror", he allowed something shockingly new to slip in between the scenes: theological horror.
I don't think Prometheus is a dystopia however, it is less a bad place, and more an absolute disillusionment with all the progressive humanist conceits that underpinned 2001's Modernism. According to the German media theorist Friedrich Kittler, "in the battle between The Enlightenment and superstition, moving images were presented for the first time n a massive scale and thus became desiderata on a massive scale." Those early magic lantern shows were simultaneously illusionistic and disillutionistic. In the Cosmicism that Scott's magic lantern show aspire to, all that remains of the Enlightenment project is that harsher, on-going, historical transformation: The Disillusionment. The shedding of our traditional beliefs in God and heaven is an understandably painful shedding. It's a bummer to feel that we die, oblivion is a drag. According to Jim Holt, absolute oblivion - nothingness - wasn't a subject addressed by philosophers until 1714, when Gottfried Wilhelm Leibniz asked “Why is there something rather than nothing?”