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When Ridley Scott released “Prometheus” and “Alien: Covenant,” they faced criticism for straying from the thrilling horror that made “Alien” and “Aliens” iconic.
Fans of the franchise were disappointed by the philosophical depth and lack of intense alien action. Fede Alvarez’s “Alien: Romulus” attempts to rectify this by delivering a film brimming with nods to the entire series, including echoes from “Alien 3” and William Gibson’s unproduced script.
Though these callbacks occasionally feel like unnecessary baggage, Alvarez’s mastery of pacing and atmosphere, combined with his evident passion for the franchise, keeps “Romulus” afloat.
The film is tense, entertaining, and filled with the slimy terror fans crave. However, it falls short of the ambition seen in some of the franchise’s less successful entries.
Alvarez takes the series back to its roots, reminiscent of Scott’s original “Alien.” The plot centers on a group of interstellar blue-collar workers, led by a heroine forced to discover untapped courage.
This time, the protagonist is Rain Carradine, played by Cailee Spaeny. Rain is a miner on a planet shrouded in perpetual darkness, believing she has fulfilled her contract, only to learn that her release has been delayed by nearly a decade.
Devastated by this betrayal, Rain and her friends hatch a plan to escape by raiding a nearby space station, hoping to find cryo pods to transport them to a new galaxy. However, the notorious Weyland-Yutani Corporation always has a way of ensuring things go awry.
Rain’s closest companion is Andy, a synthetic played by David Jonsson. Their relationship is one of the film’s highlights, as it explores the complex moral questions surrounding androids, a recurring theme in the “Alien” franchise.
Andy’s objective is to care for Rain, but as the plot unfolds, his programming is challenged in ways that make his decisions some of the most intriguing aspects of the film.
As the crew boards the space station, they quickly discover they are not alone, and the familiar terror of the series is unleashed.
“Romulus” eschews the convoluted narratives of the prequels in favor of a straightforward plot: Five people and a synthetic must fight to survive aboard a space station infested with deadly aliens.
This simplicity allows Alvarez and co-writer Rodo Sayagues to focus on world-building and crafting intense set pieces. The production design, led by Naaman Marshall, is exceptional.
The space station feels lived-in, with a history that adds depth to the characters’ plight. This sense of place is crucial in a film like “Romulus,” where the environment plays a significant role in creating tension.
The film’s setting, split between the two halves of the space station named Romulus and Remus, captures the claustrophobic atmosphere that made the original “Alien” a masterpiece.
While it doesn’t quite reach the same level of suffocating dread, it comes close enough to remind audiences why the original film is still revered.
Alvarez’s understanding of what made “Alien” great is evident in his attention to detail and his ability to stage memorable sequences. Whether it’s a frantic hallway chase with Facehuggers or a nerve-wracking elevator scene, Alvarez knows how to keep viewers on the edge of their seats.
Editor Jake Roberts plays a crucial role in maintaining the film’s tension, cutting scenes in a way that amplifies the suspense.
Cinematographer Galo Olivares also shines, paying homage to the visual style of previous films while creating a dark, foreboding aesthetic unique to “Romulus.
” The film’s visual and technical elements are top-notch, contributing to its overall success as a return to form for the franchise.
Performance has always been a critical aspect of the “Alien” series, and “Romulus” is no exception. Cailee Spaeny delivers a strong performance as Rain, portraying her character’s terror and determination with subtlety.
She avoids the over-the-top histrionics often seen in horror films, instead grounding her character in a relatable, gritty reality. David Jonsson’s portrayal of Andy is equally compelling, with his expressive face capturing the android’s internal conflict.
Andy’s character arc is one of the film’s most significant, and Jonsson handles each twist with skill, making him a standout in the ensemble cast.
Despite these strengths, “Alien: Romulus” stumbles with its reliance on fan service. The film is filled with lines and easter eggs that feel overly calculated, catering to a referential culture that can detract from the overall experience.
One particular callback to the original film, involving a janky CGI character, is a glaring misstep. In a movie that otherwise values practical effects, this CGI moment feels out of place and detracts from the film’s immersion.
The character could have been rendered more convincingly, either through better CGI or an animatronic approach that would have felt more authentic.
“Alien: Romulus” succeeds best when it embraces the haunted-house-in-space formula that made the first “Alien” so effective.
The film traps its characters in a nightmarish setting where escape seems impossible, and the tension builds with each passing minute. When “Romulus” focuses on this aspect, it captures the essence of what fans have longed for in an “Alien” movie.
However, the film’s insistence on incorporating unnecessary references to past films undermines its achievements. It’s a reminder that sometimes less is more, and “Romulus” could have stood on its own merits without relying so heavily on its predecessors.
In conclusion, “Alien: Romulus” is a welcome return to the franchise’s roots, offering the thrills and chills that fans have been craving.
Alvarez’s love for the series is evident in the film’s meticulous production design, well-crafted set pieces, and strong performances. However, the film’s overreliance on fan service and occasional missteps in visual effects prevent it from reaching the heights of the original “Alien.”
Despite these flaws, “Romulus” is a solid addition to the franchise and a film that many fans have been waiting decades to see.
