“In space, no one can hear you scream.”
Those words were the tagline and marketing hook for Ridley Scott’s 1979 science-fiction horror film Alien, and the success made a star out of lead actress Sigourney Weaver and launched a feature film franchise. Over time, the series slowly evolved in style and tone. Weaver teamed up with director James Cameron for a 1986 sequel titled Aliens, which introduced an action-adventure structure. The third film, the much-maligned Alien 3 by David Fincher, attempted to return to the suspense-thriller formula, but it polarized audiences and critics in 1992. Alien Resurrection tried to bring a sense of closure to Weaver’s character Ripley, but it was also a critical disappointment. Following two Alien Versus Predator crossover films, the franchise was put on ice until Scott returned to the franchise with his meditative science-fiction epic Prometheus, which served as a loose prequel to Alien. While it was well-received, Scott’s follow-up Alien Covenant was unsuccessful. Now, the franchise is back with a new film by director Fede Alvarez- Alien Romulus.
Set twenty years after Alien, the film opens in the year 2142. A spacecraft discovers a large cocoon floating in space amidst the wreckage of a mining vessel called the Nostromo. The action switches over to Jackson’s Star, one of Earth’s off-world colonies run by the Weyland-Yutani Corporation. Disease runs rampant, the fatality rates are rising, and the days are perpetually dark. Rain Carradine (Cailee Spaeny) is one of the workers on the colony. Her best friend and confidante is Andy (David Jonsson), a “synthetic” android built by her late father who serves as a brother figure and source of support. Andy faces some discrimination and disdain from humans who regard him as a non-sentient being. When Rain tries to get a transfer to another colony, she learns that her work contract is being extended for another few years. Desperate to get away, Rain teams up with her ex-boyfriend Tyler (Archie Renaux) and his sister Kay (Isabela Merced) to find a way off the colony. They are joined by Tyler’s cousins Bjorn (Spike Fearn) and Navarro (Aileen Wu). It transpires that an abandoned spacecraft is in orbit over the planet and may contain enough fuel to take them to the planet Yvaga; this voyage would take several years and require them to be put into cryostats for the long journey. Tension in the group erupts over Andy’s presence on the mission, but Tyler insists on bringing the android along for his technical knowledge. Rain is feeling conflicted, because Tyler and Bjorn plan on leaving Andy behind to fend for himself after the mission is complete. Meanwhile, Kay secretly reveals to Rain that she is pregnant, but she doesn’t want Bjorn to know that he’s the father.
Upon docking at the wreck, the friends discover the the outpost is the Renaissance space station, which served as the main testing facility for the Weyland-Yutani. It was divided into two sections called Romulus and Remus- named after the legendary twins who founded Rome. Andy manages to get access to the station, but they are short on fuel for the cryo-chambers. While trying to find more power cells, the temperature control causes the station to warm up, and the group gets attacked by a group of face hugger creatures. It becomes apparent that these organisms have been stored in the space station and experimented on by the company. This is made clear by the discovery of the station’s science officer Rook (Daniel Betts), an android who served Weyland-Yutani. Andy gets access to the station’s archives but gets his software updated, which causes him to become strictly loyal to the company.
As the group plans to escape, it is revealed that Navarro has been infected by a face hugger creature that planted something inside her. Since they are unaware of what is happening, each of them have different opinions on what ought to be done. While some want to leave, others feel that a growing source of danger needs to be stopped. But can they prepare to face the terror that is upon them? And what exactly does Weyland-Yutani have in mind?
Cailee Spaeny delivers a dramatic, heartfelt performance as Rain. She is, in many ways, the audience surrogate of the story. Her character arc as a colonist desperate to find a better way of life is nuanced and realistic. Spaeny succeeds in making Rain go from naive to resourceful, which sets her apart from the Ripley character of previous Alien films.
David Jonsson’s Andy is perhaps the most sympathetic member of the ensemble. He is both curious and innocent, which makes him adorable to watch. One of his endearing quirks is delivering corny jokes as a way of providing comic relief to the characters. While this could risk coming off as being annoying or unfunny, the actor manages to make it amusing and memorable. As an android, he has a difficult job in conveying what it means to be a synthetic human who struggles to fit in amongst real people. The quiet moments where he struggles with his programming versus a desire to stay with his foster sister are poignant to watch.
The rest of the cast does well in their roles. Archie Renaux drives the plot forward as the cocky yet charismatic Tyler, and he comes off as believable and realistic as the group’s de-facto leader. Isabela Merced does well in giving a sense of apprehension and hope to Kay, whose pregnancy motivates her to make a better life for the soon-to-be-born child. Spike Fearn’s Bjorn brings a mixture of obtuseness and apprehension as he realizes the situation they’re in is becoming dangerous. Aileen Wu delivers a no-nonsense, strict demeanor to Navarro, and one cannot help but believe she really is a pilot. Finally, Daniel Betts offers a chilling yet subtle performance as Rook, and one cannot help but be captivated by the complexity of the character’s cold, cerebral nature.
In terms of structure, the film does have similarities to the original Alien, especially in the claustrophobic, confined atmosphere. Unlike the world-weary blue-collar “space-truckers” of the first movie, though, this story concerns a group of inexperienced twenty-somethings who have no prior knowledge of the xenomorphs or expert training. However, the plot does open up the franchise by looking at the Weyland-Yutani Corporation in a new light. While there are a few references to the original movie, it becomes clear the company has been aware of the xenomorph creatures for a long time and aiming to recover more of them. Sigourney Weaver’s Ripley is not mentioned by name but is alluded to as “one survivor.” Apart from Rook resembling the android Ash, the only other reference to the original film’s cast is a screen capture of the late John Hurt. There are a few homages to Aliens, such as the famous pulse-rifles used by space marines, and a brief reference to the Alien prequel Prometheus.
There is some debate over the use of the late Alien actor Ian Holm’s likeness for the character Rook. A number of critics and audience members have complained the use of AI is “fake-looking”, disrespectful to Holm’s memory, and an attempt at fan service. However, it should be noted that the actor’s family granted permission for use of his likeness and approved of the final product. Furthermore, the inclusion of Ash’s likeness suggests there are other similar-looking models being used by Weyland-Yutani for research purposes.
Alvarez’ direction harkens back to the original film. Whereas Scott’s movie was set on a spacecraft, Alvarez’ narrative expands the Alien universe by exploring one of the off-world colonies. This depiction of colonial expansion is a bleak one with poor quality of life, hardship, manual labor, and grim prospects for colonialists. In fact, it almost brings to mind the world of Blade Runner (a film with Scott coincidentally directed). Alvarez changes things up by setting the majority of his plot on the abandoned space station, which opens up the environment, but also makes it sinister and forbidding. Instead of relying on CGI-centric effects, the filmmaker opts for practical effects and animatronics for simplicity. Additionally, there is a considerable use of prosthetic makeup and creature suits, but that is too spoiler-heavy to go into detail about here.
Galo Olivares’ cinematography work is breath-taking and beautiful to behold. Perhaps the most interesting artistic choice is the use of orange hue as the film’s main defining colour. This is best demonstrated in the rare glimpses that the characters see of the shining sun. Alvarez chose this to set his film apart from the drab blue-grey monotone colour scheme of the original Alien movies. Benjamin Wallfisch’s score is chilling and epic in scope. The feel is something akin to Jerry Goldsmith’s original Alien score with elements of James Horner’s Aliens music and influences of operatic tones. Indeed, one track “Entry of the Gods into Valhalla” is featured within the film, and it originally comes from the German opera Das Rheingold by composer Richard Wagner.
Overall, Alien Romulus is an excellent film and a return to form for the franchise. Alvarez and his team succeed in delivering a solid narrative while not relying on CGI or huge effects. Spaeny and Jonsson are both captivating and likeable as Rain and Andy. The movie ranks up there with the first two films but well above Prometheus and the other instalments. Four and a half out of five stars.
