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.
One might legitimately question the impetus for releasing yet another “Alien” movie. However, “Alien: Romulus” should set aside any doubts in that regard. Though somewhat derivative, there is enough new life on display, peppered with sufficient plot twists to validate another chapter – arriving as it does in theaters this week.
First things first. The casting is spot on, taking full advantage of the “Alien” branding. The production uses seasoned, though lesser-known, acting talents, which does not diminish the appeal of the film. The tactic provides up-and-comers a shot at the spotlight—much the way the first “Alien” propelled Sigourney Weaver to stardom.
Cailee Spaeny, as Rain, leads the proceedings, as did Ellen Ripley (Sigourney Weaver) in the original. David Jonsson as Andy, the android, also turns in a fine performance. Likewise, the remaining cast serve in fine form – at least for as long as they can remain alive.
The plot device is reasonably straightforward and, interestingly, set in the timeframe between “Alien” and “Aliens,” during the period in which Ripley is traveling through space in cryosleep for 57 years. Our intrepid band of explorers seeks to escape the corporate compound of the Weyland-Yutani Corporation on a distant planet by appropriating a few discarded cryosleep pods on an abandoned ship that has ties to the Nostromo. The adventurous souls seek to find greener pastures in a faraway colony requiring nine years of hibernation. Needless to say – and sooner rather than later – the predatory face-huggers get in the way at every turn, scurrying down hallways looking for a human head to latch onto. The various intrigues all add to the fun and the tension, which is not inconsiderable.
The movie’s theme of the twin brothers Romulus and Remus should not be lost on viewers. The fratricide of Remus by Romulus, the she-wolf suckling the infant twins, and other legends surrounding the founding of the Roman Kingdom are hardly accidental. Similarly, elements of “Prometheus” are introduced and elaborated, making the 2012 narrative a bit more understandable. A CGI or AI-generated Ian Holm – still creeping around from the first “Alien” feature – will both delight and infuriate audiences. His presence is one of the best hooks to the franchise, except perhaps Ripley herself, as can be imagined.
Metaphors involving the future mining workforce – reminiscent of the gritty scenes in “Blade Runner” – should resonate with blue-collar laborers in the present. The android’s prime directive to do what’s best for the company channels the first instincts of modern-day CEOs, who have long lost sight of deriving a fair profit from their operations. Now CEOs proudly champion the maximization of shareholder value, even if it means underpaying employees or overcharging diabetics for insulin – a drug invented over a hundred years ago in 1921 – with a price nowhere near its cost of production. “Alien: Romulus” reminds us that corporations – despite all their PR and upbeat advertising – are only friends so long as they have a license to gouge customers and fatten their bottom lines.
Be prepared—this movie is not for the faint-hearted. Those averse to copious quantities of slime and blood—all of which add to the earthy realism—may recoil from the sight. The sound effects, consisting of cracking bones and squelching flesh, further enhance the visceral impact of the terror.
Co-written and directed by Fede Alvarez and produced by Ridley Scott, “Alien: Romulus” fits nicely into the long-running series and its spinoffs. Some scenes and dialog pay obvious homage to the original “Alien” and its sequels, but invariably to good effect. “Alien: Romulus” complements the entire span of films initially imagined by Dan O’Bannon and Ronald Shusett decades ago. Even better, the IMAX viewing experience takes the action to a whole ‘nother level.
In Theaters Friday, August 16th
