Alien: Romulus, 2024.
Directed by Fede Alvarez.
Starring Cailee Spaeny, David Jonsson, Archie Renaux, Isabela Merced, Spike Fearn, Aileen Wu, Rosie Ede, Soma Simon, Bence Okeke, Viktor Orizu, Robert Bobroczkyi, Trevor Newlin, and Annemarie Griggs.
SYNOPSIS:
While scavenging the deep ends of a derelict space station, a group of young space colonizers come face to face with the most terrifying life form in the universe.
Alien: Romulus director Fede Alvarez once again proves apt at the art of remixing. Much like his 2014 Evil Dead remake, there are spins on iconic, expected moments that rarely feel cheap because the filmmaker (co-writing alongside Rodo Sayagues) is clever enough to tweak something about a particular sequence in a way that either feels fresh or allows the familiar aspect to be forgiven when it arrives. Take his variation on the chest burst sequence: the buildup regarding characterization is similar (arguing over whether or not to bring the affected person back on board), but that journey also comes with each phase playing out differently, such as a moment where these space miners attempt to freeze the tail of the Facehugger attached to the victim in hopes it will loosen that grip.
Fede Alvarez also exhibits a tight command over suspense and atmosphere while utilizing practical effects, animatronics, and a piercing, pulse-pounding score from Benjamin Wallfisch. If the question to be posed is, “Can a new take on a chest burst still work?” the answer is yes. It might not be as shocking as the first time, but with this execution, it certainly still feels exciting, visceral, and even terrifying to an extent. It also helps that these characters have different reasons for being aboard a derelict vessel carrying Xenomorphs and dead bodies lying around with impressively disgusting makeup effects.
In that respect, Fede Alvarez is basically doing an Alien remake by way of, well, plural aliens before taking things in his own distinct, awesomely deranged direction for the finale. In other ways, some of this is understandably disappointing (did we really need to redo THAT climax) and too comfortable with fan service, not to mention raising ethical concerns with one creative choice.
Taking time to set up the characters, Alien: Romulus introduces viewers to Cailee Spaeny’s Rain, an overworked miner who has put in enough hours to be granted access to leave this particular colony (her father is also dead from these harsh labor conditions), only to be lied to and have several thousands of hours added on to this debt. Considering that people are overworked every day in the real world as if they are expected to prioritize mundane jobs over everything else in life, it proves to be some damn relatable motivation to root for Rain on her unexpected and unlikely quest for liberation.
Working with and looked after by her android “brother” Andy (David Jonsson), who is also programmed to tell dad jokes, Rain is made aware of a plan from her coworker for a group of them to go into space and board the previously mentioned derelict vessel (Romulus) which, even if it is about to crash into another structure, has cryogenic escape pods that could freeze them for the years necessary until they reach a safer colony with more respectable living conditions. Regarding characterization, there isn’t much special about these companions, mostly defined by basic traits; one of them despises androids for personal reasons, another happens to be pregnant (and you know Fede Alvarez has something gleefully twisted in store for that), there is a pilot, and, of course, there is the requisite young man with a softer side which kind to Rain (although assuredly not a love interest.)
The heart of this otherwise thin story comes from the relationship between Rain and Andy, with the former consistently doing whatever she can to ensure he has free will, feeling some guilt that his number one directive is always to do what’s best for her. The mission is also impossible without him, as his built-in technology has the necessary information to override locked doors once aboard the vessel. Naturally, Rain also wants to ensure he isn’t being taken advantage of or endangered, especially since one of these colonizers is aggressive and views Andy as a disposable object once he has served his purpose.
This aspect is flipped on its head once Andy needs an upgrade, transforming him into a colder being solely concerned with survival rates and reporting information to the Weyland-Yutani Corporation. While it’s not necessarily explored in much detail, it is a nuanced take on the tried-and-true theme of examining humanity within androids. The chemistry between Cailee Spaeny and David Jonsson also successfully sells their sibling-like bond.
It also probably doesn’t come as a surprise that the rest of the crew is fodder for grisly and gnarly death, with a sense of urgency throughout every perilous sequence. Any one of them can die at any time. As the plan goes south and the horror progresses, Cailee Spaeny slowly emerges as a bonafide badass, bringing to mind a young Sigourney Weaver at times: resourceful, self-sufficient, and capable when it’s time for action with an adrenaline-fueling knack for delivering climactic one-liners. Fede Alvarez turns zero gravity on and off, stringing together several thrilling sequences, including one inside an elevator that stands out as more skillfully crafted and tense than the rest.
Alien: Romulus doesn’t have ambition or much originality, but it’s elevated by a chilling atmosphere, escalating momentum, and a resiliently fierce Cailee Spaeny.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
