ALIEN: ROMULUS Is Mostly a Welcome Return to Horror Form

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As a long-time spacefarer who’s lost count of the number of galaxies I’ve traversed, I can confidently say that Fede Alvarez’s Alien: Romulus is a welcome breath of fresh air in the vast expanse of cinematic universe. After the philosophical detours of Prometheus and Covenant, it’s like returning home to find my favorite old spacesuit still fits.

I’m always thrilled when an established franchise takes a bold step by exploring fresh ideas and concepts, like when Star Trek ventured into lighthearted comedy for its fourth film or Prey reimagined Predator in the 18th century. This innovative mindset is also present in Ridley Scott’s Prometheus and Alien: Covenant, which aimed to give the Alien franchise a more philosophical slant. However, there are moments when going back to the roots of a series is beneficial, as we see with Fede Alvarez’s Alien: Romulus, which brings us back to the classic “monster in space” feel, and generally succeeds, albeit not entirely.

It’s clear that both “Prometheus” and “Covenant” have their supporters, and visually and in terms of design, they are second to none. However, I often found that the xenomorphs themselves hindered deeper conversations about what it means to be human. Moreover, the characters were remarkably unintelligent, which isn’t particularly enjoyable to witness. Alvarez, famous for the 2013 “Evil Dead” remake and 2016’s “Don’t Breathe,” is a director in the horror genre. Cleverly, he diverted the franchise from Scott’s philosophical heaviness, instead focusing on a fresh take on monsters versus people stranded on a dilapidated spaceship. This approach is refreshingly straightforward.

On the dismal mining planet, Rain (Cailee Spaeny), a young colonist with dreams of leaving, is closely bonded with Andy (David Jonsson), an early Weyland Yutani synthetic who took care of her after her parents passed away. However, the cruel company keeps increasing the work conditions for relocation. Her only hope lies in a group of old companions (Archie Renaux, Isabella Merced, Aileen Wu, Spike Fearn). They devise a plan to plunder an abandoned space station for its resources, but they require Andy’s access codes to execute it.

Upon reaching the station, divided into two parts named Romulus and Remus, the team discovers signs of trouble. Almost instantly, it seems as if xenomorph misadventures are underway. Now, Rain and her companions are up against a deadline. They must secure what they’ve come for and escape the station before the aliens, the corporation, or even the force of gravity itself claims their lives.

The film titled “Romulus,” penned by Alvarez and co-writer Rodo Sayagues, offers much to admire. They’ve skillfully positioned the narrative after the 1979 release of “Alien” yet before “Aliens,” maintaining the original’s gritty, futuristic ambiance. Furthermore, they leverage our understanding of xenomorph biology to craft some thrilling early scares, from facehuggers to corrosive blood. The fully grown xenomorph, when revealed, masterfully blends stealth and unpredictability, often appearing around corners or lurking in ceiling ducts. It’s a delight to watch.

As a gamer, I’ve got to say, the movie had me hooked from start to finish, but it was the grand finale that truly took my breath away. Alvarez crafted action sequences that were unlike anything I’d ever witnessed before, leaving me on the edge of my seat. Moreover, he delivered a climactic showdown reminiscent of Alien: Romulus, a moment that terrified in ways the series had only hinted at and strived for, but never quite achieved until now. Giger would have been impressed, too.

In addition, I’d like to highlight the captivating music composition by Benjamin Wallfisch. His work is grand and expansive, much like a symphony, and it carries echoes of Jerry Goldsmith’s score from Alien. While many sci-fi/horror productions opt for synthwave scores, I appreciate this choice that leans towards the 1970s futurism aesthetic. The full orchestra and use of leitmotifs give an aura of sophistication, making it a truly exceptional soundtrack.

Although this film has numerous commendable aspects, it doesn’t quite deserve top marks. Earlier, I pointed out that the movie Alien: Romulus wisely returns to fundamental elements. This is accurate, but it also adheres to familiar patterns in a way that feels somewhat repetitive. It’s less problematic than movies like Star Wars: The Force Awakens, which essentially rehashed the original film with numerous references and Easter eggs. Here, the initial setup is reminiscent of what we’ve seen before, which is acceptable, but certain unnecessary references, particularly digital recreations, came close to ruining the overall experience for me. I can see why some were included, while another was quite inventive, and one was so cringeworthy that it made me want to avert my gaze. All in all, I wish they hadn’t been added.

The characters, in general, are rather slim in depth. However, Andy stands out with a captivating character development that’s typically found in synthetic beings in these types of movies. Spaeny plays an admirable and intriguing heroine, but Rain seems to lack complexity. The remaining four characters can be described as flat, though they aren’t portrayed as annoyingly unintelligent. Instead, they are depicted as young individuals who are naive about the situations they encounter, leading them to make mistakes. They are not written as scientists who act irrationally or fail to move sideways when avoiding falling objects.

In the end, I was quite satisfied with the movie “Alien: Romulus“. It was impressive not only for its visuals but also for creating tension. I believe it delivers the straightforward thrill ride that many fans have longed for. Although it doesn’t entirely break free from the continuity of the previous saga, it manages to avoid feeling weighed down by it. Moreover, the third act contains some of the most exciting and outrageous “Alien” content in years. I highly recommend seeing it on a big screen, hearing it loud, and enjoying the screams!

Alien: Romulus hits theaters August 16.

⭐ (3.5 of 5)

Kyle Anderson serves as the Senior Editor at TopMob, where he’s also the host of the engaging weekly pop culture exploration podcast called Laser Focus. You can read his insightful film and television reviews right here. Don’t forget to keep up with him on Instagram and Letterboxd!

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2024-08-14 22:03