THE STORY – Space colonizers come face to face with the most terrifying life-form in the universe while scavenging the deep ends of a derelict space station.
THE CAST – Cailee Spaeny, David Jonsson, Archie Renaux, Isabela Merced, Spike Fearn & Aileen Wu
THE TEAM – Fede Álvarez (Director/Writer) & Rodo Sayagues (Writer)
THE RUNNING TIME – 119 Minutes
The “Alien” franchise has always been a series of films with a peculiar legacy throughout many decades. It was consistently a launching pad for expressive filmmakers, many starting out very early in their careers, as an opportunity to craft dazzling spectacle with a keen focus on their directing skill set. That path morphed into arenas that were not always the most intellectual but, on any level, could be more appreciated for the base entertainment value that was inherently present from the start. By the time reinvention happened with an origin story, the results were a wild mix of fascinating concepts with messy storytelling. Yet, through it all, these films are emblematic of a distinct voice that seeks to elevate the genre trappings or, if all else fails, to revel in it. That latter objective seems to be the guiding force behind “Alien: Romulus,” a mildly entertaining endeavor with all the decorations of a familiar entry to this series without much of the thrill to make it all that unique.
In terms of chronology, the events here are after the terrifying encounter the Nostromo crew had with the stowaway creature aboard their ship. It is decades later, and now the focus is on a distant mining colony that never sees the sun and works its inhabitants to the grave. Rain (Cailee Spaeny) is determined to leave this desolate location, hoping to buy her way to a more hospitable location with Andy (David Jonsson), an android whose primary directive is to care for her. When her chances of leaving look bleak, she hitches herself to a rebellious group that also yearns for escape. They plan to board a desolate craft orbiting around the planet and commandeer a group of life vessels for the long journey. However, once they board the decaying ship, they discover a secret hidden within its walls. Soon, a horrifying beast is let loose upon them, and now they must live long enough to escape before becoming entrapped in darker secrets waiting to be revealed.
A few key ingredients go into every successful venture in this series. All entries must be built from a foundation that delivers an effective atmosphere and an endearing array of characters. The calibration from each column may be slightly adjusted, but the most successful films have been able to provide these aspects to some degree. Director Fede Alvarez is keenly invested in the former, as his strong aesthetic background goes a long way in crafting the impressive visual display. He captures the unique look of the 1979 original, a technologically advanced future that still appears grungy and rusted over. Here, a direct underlining of corporate greed leaves those of lesser means to fend for themselves. Still, the artistry on display strikes a good balance to evoke this familiar environment without necessarily becoming a carbon copy. It’s a canvas that Alvarez uses to manifest numerous set pieces that are technically imposing, often having a tactile weight to the impactful action sequences.
Regarding that second point, it’s clear that Alvarez and his co-writer Rodo Sayagues profoundly fail to showcase any real intrigue with these characters. It’s a small crew, just like the first film, but none are given any defining personality that leaves any significant impression. They may be a similar company of low-level participants trapped by happenstance in a dangerous situation by nefarious forces who see them as expendable. However, their personalities are flattened into pedestrian archetypes that are never all that compelling. These individuals feel like stock characters, empty vessels that are often seen in horror pictures that are only ever lifted from the page based on the strength of the performance attached. That doesn’t mean the writing is forced to be so empty, but it does leave one wanting more distinct dynamics to be shown.
It’s a part of the larger issue the film carries. It is so fixated on its surface-level presentation that it neglects to become an engrossing piece of cinema that can operate on its own terms. There have been far worse examples of nostalgia bait within these legacy entries, but there are enough cringey callbacks to eventually feel tedious, with one particular example a distasteful reach that resurrects an old character that completely disrupts the momentum of the narrative. However, even those set pieces eventually wane, and a certain hollowness begins to fester. The tone feels more akin to a video game, an experience that can offer thrills but ultimately does not have the visceral potency to build a gripping tension. Each moment is either an elaborate sequence of events to fight your way out or a static exposition dump, but either way, it feels light in its ability to create a genuine state of terror. Despite its practicality in many scenes, the storytelling has an artifice that leaves one at a distance.
While they may be saddled with less-than-interesting roles, the actors do their best with what they are given. It should be noted that, for the most part, the majority don’t do a great deal to rise above the material. It’s a shame that there is little to read as genuine chemistry when this crew seemingly has a history with each other. Archie Renaux has the leadership role without much to define him, leaving his portrayal stoic and generic. The same goes for Spike Fearn as the brash confrontationist, and Isabela Merced and Aileen Wu as seemingly little else as cannon fodder. Spaeny has her own kind of engaging screen presence that is a good anchor, but this certainly won’t be considered a career highlight. She, fortunately, is not fashioned to be a Ripley clone (that will literally come much later), but she is another victim of a banal arc. The only one who truly delivers remarkable work is Jonsson. He gives such an absorbing performance as a character who navigates between a meek naivety and an unsettling menace, never overplaying the hand in either case. He provides a magnetic personality that is incredibly powerful, much more than any other member of this ensemble.
It’s challenging to weigh the scales of what is successful and what is not within “Alien: Romulus” because there is a conflict between so many of its elements. On its own terms, the story is not that intriguing, with the plot and characterizations remaining shallow. That, in turn, influences the overall mood, which can come across as lifeless in its spectacle and downright chaotic in a final act that indulges in swerves into the bizarre that is sure to polarize. Still, with all that said, it’s hard to deny that there is general entertainment to be had with this premise. There is a desperate yearning for a more potent environment that can legitimately build on suspense and tension, but there is still an efficient value in this disposable enterprise. The final results are adequate in reaching the bare minimum level of amusement, though one wishes for higher ambitions that are merely serviceable. For as many hallmarks as this entry loves to telegraph back to its original source, the major forgotten facet is a deep care for its narrative. It’s an elusive element that stunts it from having a lasting impact.
