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It’s been a while since the Xenomorphs last graced our screens—specifically, in 2017’s “Alien: Covenant“. Unfortunately, the reception for that film was lukewarm, even with Ridley Scott at the helm. Fast forward seven years and one acquisition of Fox by Disney later, the studio is eager to recoup its investment. Thus, we’re headed back to space, where, as always, no one can hear you scream in “Alien: Romulus.”
“Alien: Romulus” focuses on a group of young space colonists who stumble upon an abandoned space station. As they explore its dark corridors, they inadvertently awaken a deadly alien threat. You know what will happen next.
“Alien: Romulus” marks a return to the franchise’s roots. Gone are the philosophical musings of “Prometheus”; instead, we’re treated to tense scenes where characters must navigate through rooms filled with Facehuggers. The film leans heavily into the horror elements that defined the original, but it ultimately feels like a mash-up of the entire Alien quadrilogy. If you let AI craft a screenplay inspired by the first four films, “Alien: Romulus” would be the result.
This makes “Alien: Romulus” a pretty divisive film. It may be the best entry since “Aliens”, but it leans too heavily on references and elements from the original four movies, even replicating some of the most controversial aspects. While there are some fantastic tension-filled scenes that effectively drive the narrative, none of those scenes need to conclude with one of the franchise’s most iconic lines. The final act is essentially a mash-up of “Alien” and “Alien: Resurrection“, featuring Rain (Cailee Spaeny) running around in her underwear while battling a Human-Xenomorph Hybrid. Although this version isn’t as grotesque as the one in “Resurrection,” its design remains off-putting compared to the classic Xenomorphs and Facehuggers.
Most of the cast doesn’t leave much of an impression, which is typical for what is essentially a high-budget sci-fi slasher film. Many of these characters exist solely to provide the Xenomorphs with something to kill. Cailee Spaeny serves as a decent protagonist, but it’s David Jonsson as android Andy who truly steals the show. Like every Alien movie, he plays a character with a hidden agenda, but this time, the approach feels fresh and delivers the strongest performance in the film.
He isn’t the only android in the movie. Ian Holm returns, but this time as Rook, who is damaged in a way reminiscent of his android Ash from the original “Alien.” This choice confused me and made me think the film was set amid the wreckage of the Nostromo. Resurrecting Holm to portray a character similar to his original role feels entirely unnecessary. Aside from being a blatant nostalgia play, it only adds to the film’s confusion.
One thing that bugged me in “Alien: Romulus” is how the iconic gestation process has been drastically reduced to mere minutes. In one scene, a character falls victim to a Facehugger, and by the very next scene, her chest bursts open with a Xenomorph baby. In the earlier Alien films, the Xenomorphs took their time to mature, sometimes even feeding on hosts like dogs to grow. Here, however, they transform into full-sized monsters within minutes, sacrificing the slow burn of suspense and horror that made the original films so gripping.
If you’re a cynic who values originality in films, then “Alien: Romulus” may rank among the worst movies ever made. However, if you enjoy a film filled with tension and Xenomorph action, then “Alien: Romulus” is right up your alley. Despite its flaws, some of which can lead to confusion, I found the movie to be an entertaining thrill ride that is beautifully shot and well-directed.
