The ongoing enthusiasm for the Alien series speaks volumes about the indomitable human spirit eager to find optimism amidst bleak circumstances. This is the ninth installment within this universe and none of the previous have managed to spark substantial excitement since the era of President Ronald Reagan.
Try to temper your expectations, despite my assertion that Fede Álvarez’s dark adventure is amongst the best we’ve seen from this series in the 21st century. The screenplay penned by the director himself, alongside Rodo Sayagues, sets aside the dreary focus on ‘legacy’ that weighed down Prometheus (2012) and Alien: Covenant (2017) somewhat less, in favour of reviving Ridley Scott’s original spine-tingling space horror concept from four and a half decades ago. The climax falls short of satisfying, but Álvarez – who impressively directed Don’t Breathe – choreographs the sequences with a brutal elegance.
What particularly sets Alien: Romulus apart are the compelling performances by its leads. Cailee Spaeny – a force to be reckoned with – shines as Rain Carradine, a disenfranchised space settler under the illusions of having fulfilled her contract. David Jonsson, who was brilliant in Rye Lane, portrays Andy, first introduced as her brother but later revealed to be a friendly android. With autism implied – his propensity for corny jokes is a dead giveaway – Andy plays dual roles of guardian and companion.
Their vision of a peaceful existence away from the harsh, alien mines is shattered when Rain discovers the manipulative lords have unjustly prolonged her contract. She and a group of youthful friends decide to reclaim control of their futures. They uncover what seems to be a vacant spaceship and strive to exploit whatever resources it holds. It goes without saying that the innards of the ship are bristling with juvenile aliens ready to impose themselves upon the unsuspecting humans.
Indeed, the remaining members of the crew are nothing more than easy pickings for the predatory xenomorphs. While Spaeny and Jonsson give commendable performances with the sparse dialogue they are given, the screenplay lacks the diverse range of characters that were so vividly portrayed in James Cameron’s Aliens. However, their partnership offers an intriguing dynamic that could well be revisited, should they live to see the final credits.
The plot takes a somewhat convoluted turn halfway through, introducing wicked plots, bizarre technology and doubtful time frames. Over-analysing the science in such narratives is often futile. However, with all due respect, the story seems rushed, with too many significant events occurring in a timespan that seems extremely short, akin to cramming an entire series of sci-fi epics into few hours.
Almost entirely, Alien: Romulus offers tight action sequences that flow well and remain consistent even in dim lighting, barring one daring divergence. Traditional elements from the Alien franchise are seamlessly woven into the plot. Andy’s hesitation to open a door for the infected eerily mirrors Ripley’s dilemma. Spaeny, who brings a different energy from Sigourney Weaver, serves as a commanding presence, though less rugged, in the final chapters. Benjamin Wallfisch’s score cleverly pays homage to Jerry Goldsmith’s original work.
However, Alien: Romulus falls short of capturing the refined elegance present in Scott’s original work and remains a boundary-less creature. The plot progresses but fails to build momentum. The villains appear menacing from the outset. The less said about the sudden reversal towards the end and the contrived conclusion, the better. While it’s worth noting that a similar tactic was unsuccessful in the past, there’s an anticipation for the next instalment, akin to the optimism that comes with a bank holiday or the hope that our perpetually struggling team might finally clinch the cup.