I'm firmly with stelios and Prankster on this film: while it's sure pretty to look at, it's irredeemably broken by dumb plotting, poor/nonexistent characterization, and half-baked (at best) ideas.
What really sinks the film, IMNSHO, is not the poor or poorly executed treatment of the "big questions" - that's something I've not yet really wrapped my head around - but in flat-out dumb plotting and characters. This is exemplified by the much (and rightly so) criticized scene with Milburn and Fifield in the Temple (not to mention the ridiculousness of them getting lost when there's a fucking 3D map of the complex on Prometheus and they've remained in contact with the ship). Two characters acting utterly stupidly simply because the plot calls for it. It breaks suspension of disbelief to accept that a trillion-dollar expedition would hire two guys dumb enough whose first reaction on seeing an alien life form is to PET IT. (It also beggars belief that the expedition would not have given training on this kind of protocol.)
Also stupid: landing on a planet and insisting they all race out, with just a few hours of sunlight, to explore the very first structure they find....and then simply racing through the structure, and doing no on-site studying or artifact collection. The only thing they do (David's covert specimen collecting notwithstanding) is map the place and bring back a severed head. Now, I understand why the film doesn't want to show us an exact replication of an actual expedition - it would get tedious and boring. But a very quick montage or even a few lines of dialogue to acknowledge the passing of time and initial, INTELLIGENT efforts to explore and catalog the site, would've settled the problem.
For those who are defending the film - and I'm asking this sincerely - why don't these kinds of lazy, intelligence-dismissive choices bother you? Again, this isn't about whether the movie succeeds or fails in its underlying themes or targets of the big questions. This is basicaly moviemaking 101 stuff - why are you giving the film and the director (an experienced, accomplished filmmaker who is not at all stupid) a pass on this kind of stuff?
And chalk me up as someone who HATED the score. It was completely wrong for the film, and much of the time actively worked against the attempts at fright and fear on the screen. Weirdly, the music at the end credits was damn good, and the film could've used a lot more stuff like that.
A couple of last notes:
I was strangely cheering on the wakened Engineer near the end of the film. While I find the entire scene poorly done WRT writing and clarity of WHY things are happening, for some reason I loved him taking out Weyland and David.
The scenes with David alone on Prometheus in the beginning were great. I wish the film would've fulfilled the promise in those minutes.