Sadly, Alien: Romulus brews a pot that adds spice from other Alien films without the proper measurements, becoming a curdled mess that’s challenging to enjoy.
Alien: Romulus is a hodge-podge of moments, some good, some bad. There are films with nostalgia that blend with a unique vision that stands on its own. Then, other films subscribe to the “more is more” and dump countless moments with glaring similarities to capture what made a classic so famous. However, these films often fail to add anything revelatory to the series’, becoming lesser imitations of the original. Sadly, Alien: Romulus brews a pot that adds spice from other Alien films without the proper measurements, becoming a curdled mess that’s challenging to enjoy.
Directed by Fede Álvarez and written by Álvarez and Rodo Sayagues, there was confidence that he could bring something unforeseen to the series. After all, Don’t Breathe was a surprising premise, and the turkey baster scene lives on in infamy. Plus, Fede Álvarez wrote and directed 2013’s Evil Dead, a surprising gory gem. So, he understands how to work within the confines of established franchises. But moments that feel distinctly Álvarez are glimmers bogged down within a film where everything, including the kitchen sink, gets tossed in.
Alien: Romulus Starts Emotionally Strong
The movie sets up the stakes quickly and effectively for the lead characters. Rain, played by Cailee Spaeny (Civil War, Priscilla), with her brother, Andy, played by David Jonsson (Rye Lane, Industry), tries to get permission to travel to another planet from her job, Weyland-Yutani. Corporate shadiness is soon afoot as the woman she’s speaking with looks at a monitor that states Rain’s worked enough to travel. Suddenly, that changes as the lady increases the credits needed.
Alien: Romulus sets up emotional connections that work at first. Because these moments are original. It’s in the Alien universe, but mimics nothing prior. However, later scenes of androids or “artificial persons” working for the company (Walmart didn’t buy them out in this universe) lack originality or weight. While the cast conveys stunning emotional scenes and chilling horror, too much in the movie resembles previous films in the franchise.
Cast Brings “A” Game to the Franchise
The cast does not falter. Their performances, in particular Spaeny and Jonsson, are dynamite. You feel the terror from Spaeny as well as the emotional struggle as she desires freedom from the deadly exploitative work grind but also fears losing the one person left who she considers family. Jonsson plays both aspects of his character with fantastic depth. Switching between two distinct personalities—one stilted yet caring and the other colder and austere—is difficult. However, David Jonsson pulls it off with aplomb.
The additional cast on the abandoned space station also turns in mostly believable performances. As Kay, Isabela Merced (Dora and the Lost City of Gold, Instant Family) sells the fear and horror moments. Aileen Wu and Spike Fearn (The Batman, Aftersun) also deliver. Archie Renaux (Catherine Called Birdy, The Greatest Beer Run), as Tyler, struggles occasionally to convey strong emotions. However, he mostly gets the job done.
However, collectively, this cast pulls each other up to build up the terrifying and tense scenes. Still, despite the cast’s best efforts, it’s impossible to avoid comparisons to previous characters in the series. In particular, Cailee Spaeny and David Jonsson’s characters feel like lesser versions of Ripley, Ash, and Bishop. While Alien: Romulus attempts to chart a unique course, too many moments mirror the other films, pulling this movie down.
Alien: Romulus Director Álvarez Understands Tension
There are plenty of tense moments in Alien: Romulus. Fede Álvarez’s direction puts viewers right in the action. The camera is frantically close in chilling scenes. It possesses his slick, dark style with uncomfortable moments that linger too long yet feel necessary. Álvarez can handle a franchise. But where Evil Dead felt similar to its predecessor, the possession, gore, dialogue, and shots all felt unique to Alvarez’s vision. Alien: Romulus is hollow by comparison. Too much here recalls scenes from Alien, Aliens, and even Alien Resurrection. So, scenes lack complete immersion because they constantly uproot the viewer.
End AI and De-aging
Studios and filmmakers must retire using this. It feels especially distasteful to bring deceased actors to life. Using de-aging for an actor who passed away years ago is another level of low. This motley crew happens upon an android named Rook, but it’s pretty much Ash from Alien. But it’s not Ian Holm. Sadly, he passed away. So, let him rest in peace. This monstrous Renesmee-like concoction is an affront to the eyes. In addition, it harms the film, especially given how much they used it. Recast, for heaven’s sake.
Alien: Romulus wastes so much potential with nods to the other films. Despite strong, emotional performances, the comparison to other xenomorph outings remains a constant when watching. Rain is no Ripley. Andy’s no Bishop. But the movie forces Rain and Andy into their shadows with no escape. CGI-ing Ian Holm was a monumental mistake. While the cast and director do their best, Alien: Romulus falters, unable to stand alone, and relies too heavily on mimicking iconic characters and scenes to carve out its own path.
