Review: Bringing things back to basics, ‘Alien: Romulus’ leans into the horror and the goo

As a die-hard fan of the Alien franchise who has seen every single installment more times than I care to admit, I must say that Fede Alvarez’s “Alien: Romulus” is a thrilling and gory ride that harkens back to the glory days of Ridley Scott’s original masterpiece. The movie is like a delectable slice of pizza – even when it’s not so great, it’s still satisfying!

The beauty of the “Alien” franchise is that it has always allowed room for distinctive filmmakers to play with their own aesthetics and themes. Ridley Scott’s taut, philosophical space-thriller “Alien” gave way to the sweaty, militarized machismo of James Cameron’s “Aliens.” David Fincher brought industrial Soviet aesthetics and psychosexual tension from his Madonna music videos to the stylish “Alien 3” (though he disavowed his feature debut); even the darkly whimsical French auteur Jean-Pierre Jeunet put his quirky stamp on “Alien: Resurrection,” before Scott himself returned for the bloody, brooding prequels “Prometheus” and “Alien: Covenant.”

Under the direction of Fede Alvarez, known for “Evil Dead” and “Don’t Breathe,” it’s expected that his take on “Alien: Romulus” would be a tense, confined horror film featuring a group of resilient young characters pursued by an enigmatic monster. Co-written by Alvarez and Rodo Sayagués, the script for “Alien: Romulus” is both ruthlessly effective and familiar, tackling themes such as pregnancy, female power, and the conflict between humans and artificial intelligence that are reminiscent of the series.

It could be said that “Alien” films are similar to pizza – they’re delightful even when they’re not perfect – and while there may be some questionable decisions that will undoubtedly spark numerous analysis pieces, the film “Alien: Romulus”, with its gripping texture and an appealingly spirited cast, is a truly enjoyable movie experience.

Cailee Spaeny, most recently seen in “Priscilla” and “Civil War,” takes on the role of our protagonist, Rain, who yearns for nothing more than to witness daylight again. Her objective is to escape from the Jackson Mining Colony alongside her synthetic companion, Andy (played by David Jonsson), aiming for the agricultural planet Yvaga. However, the Weyland-Yutani corporation consistently changes the goalposts, and she hasn’t met her required hours in the mine. Frustrated by their lack of concern, Rain teams up with a group of allies to search for cryopods in an abandoned spacecraft orbiting above, hoping that they might find a way to Yvaga on their own terms.

A gang of youngsters breaks into what appears to be an empty house, oblivious to the perils that lie ahead. Reminiscent of Alvarez’s “Don’t Breathe,” this scenario shares a striking resemblance. In the same vein as the ill-fated crew in “Alien,” the vessel they board is swarming with facehuggers and xenomorphs. As they become separated, they make regrettable choices, leading to the emergence of grotesque creatures from various body openings.

In my perspective as a movie reviewer, the narrative revolves around the bond between Rain and Andy, a relationship that’s tested throughout the story. As Rain contemplates leaving Andy in pursuit of their shared goals, an unexpected upgrade to his software takes place, transforming him into a more analytical and detached entity. Originally designed by Rain’s deceased father with a mandate to prioritize her well-being and even crack a dad joke or two, Andy is now tasked with completing the mission for the corporation.

As a lifelong fan of science fiction, I must say that the introduction of Rook, the partially-destroyed synthetic character, has added an unexpected layer to the storyline in this new series. With my extensive knowledge of “Alien” and its deceased actor, it’s fascinating to see how creators have brought him back to life through advanced technology. It truly showcases the progress made in the field of digital artistry and performance capture. I can only imagine what other surprises await us as the story unfolds.

The trend of reanimating dead stars in “lega-sequels” or “interquels” (the ghost of Harold Ramis in “Ghostbusters: Afterlife”; Peter Cushing in “Rogue One”) is both off-putting and ethically questionable, especially considering the ongoing fight of actors to control their own image against the looming threat of AI. Those questions aside, if the addition works at all in “Alien: Romulus,” it’s because they aren’t aiming for realism with this mangled droid. Still, it nags, especially given Alvarez’s commitment elsewhere to grungy practical sets and props. He’s also already got a fantastic standout performance from Jonsson, who alternates between wounded puppy dog and shrewd corporate proxy.

In “Alien: Romulus,” there are additional visual delights to savor. Galo Olivares’ cinematography is breathtakingly lush, while the sets sport a worn, used look and are illuminated with warm reds that seem to shimmer with alien slime. Benjamin Wallfisch’s music creates a chilling atmosphere, often shifting between ominous cries and electronic synth moments.

The heart of everything is Riley Morrison’s (Spaeny) performance, serving as the brain of the movie. Her empathy adds layers of complexity, but her intuitive understanding and interpretation skills surpass any mechanical computation. Compact in stature and youthful, Spaeny lacks the agile strength of Sigourney Weaver or Katherine Waterston, or the steely resolve of Noomi Rapace, who have wielded weapons against the xenomorphs in previous “Alien” movies.

However, Alvarez provides Spaeny with opportunities to shine as a hero, whether through her concern for her fellow crew members or by eradicating a harmful species. This showcases the inner resilience and unwavering will to endure that’s essential for an “Alien” franchise character. Occasionally, it’s just this raw human spirit and tenacity that can bring these movies to life.

Katie Walsh is a Tribune News Service film critic.

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2024-08-14 22:31