“Alien: Romulus,” the latest entry in the “Alien” franchise, follows a group of young laborers on a remote planet desperate to escape the harsh conditions of their employment. When they discover a derelict space station with enough fuel to get them off-planet, they board, unaware of the station’s alien inhabitants. “Alien: Romulus,” helmed by respected horror director Fede Alvarez, was released on Aug. 16.
“Alien” is historically one of the most volatile franchises in sci-fi movie history. The first two films, “Alien” and “Aliens,” are widely considered to be two of the best sci-fi movies ever made – known for their immersive set design, incredible practical effects and thematic depth. However, in the 1990s, the franchise saw a substantial dip in quality.
Legendary movie critic Roger Ebert called “Alien3” “the best-looking bad movie [he’d] seen in a while.” He also rated “Alien Resurrection” one-and-a-half stars out of four.
In the 2010s, Ridley Scott, director of the original “Alien,” made his long-awaited return to the franchise to direct the prequel films “Prometheus” and “Alien: Covenant,” both of which remain controversial amongst fans and critics alike. With “Alien: Romulus,” Scott takes on an executive producing role with Alvarez in the director’s seat.
The film begins by showing audiences something not often explored in the “Alien” universe: what life is like for the average person. On the mining colony Jackson’s Star, the skies are completely blotted out by pollution, leaving its people ravaged by disease and at the mercy of their employer, the Weyland-Yutani Corporation. Where a franchise like “Star Wars” would likely tell a story of triumph over tyranny and corruption, “Alien” takes a more dystopian, and perhaps more realistic, approach. The “Alien” films are about survival — not fixing the world, but existing in it despite its challenges.
Rain Carradine (Cailee Spaeny) works on Jackson’s Star along with Andy (David Jonsson), an android whom she affectionately calls her brother. The pair plans to relocate to the paradisiacal planet Yvaga after their work contracts expire. But, when Weyland-Yutani forcibly extends Rain’s contract for another 12,000 hours, they agree to help on a mission in exchange for passage off-planet. An abandoned space station has appeared in orbit over Jackson’s Star, and a team led by Tyler Harrison (Archie Renaux) aims to steal its fuel and escape the grasp of Weyland-Yutani. Unfortunately for them, the ship is filled with Xenomorphs, Facehuggers and more.
Viewers may note that “Alien: Romulus” has a very young cast. This is a deviation from prior films, which primarily featured middle-aged actors. Newcomers Spaeny and particularly Jonsson are fantastic leads. Being an android, Andy allows the film to experiment in ways that wouldn’t be possible with a human character. Without spoiling too much, this offers Jonsson the opportunity to play multiple versions of his character throughout the movie. Jonsson steals the show, delivering each variation with impeccable nuance.
As with most horror franchises, “Alien” is formulaic at heart. Though the specific details may vary, every film has the same core premise: a group of characters become trapped with aliens and must find a way to escape. Being the seventh “Alien” film, “Romulus” has a difficult task: it needs to show the audience things that the previous six haven’t already.
Luckily, “Romulus” is packed with creativity that breathes life into an otherwise familiar story. The movie builds on what came before in just about every way. The lore is expanded, tropes from previous films are subverted and Alvarez has come up with many exciting new methods to kill Xenomorphs.
In the continuity of the series, “Romulus” is set between “Alien” and “Aliens.” Given this placement, the film contains many overt connections and references to “Alien.” Hollywood loves to capitalize on nostalgia surrounding classic films, often in exploitative and unnatural ways. Thankfully, the vast majority of the references feel organic and add to the story in a meaningful way. Still, some of them have a nagging “remember this” energy that may take audiences out of the movie.
Though “Dune: Part Two” has been said to hold fairly comfortably in the lead for best production design of 2024, “Alien: Romulus” gives it a run for its money. From the grimy and industrial Jackson’s Star to the chilling ribcage-like hallways of the infested space station, the sets are incredibly realistic and intricately detailed. It’s often quite difficult to tell where the set ends and the CGI begins. “Romulus’” production design also emphasizes the horrifying nature of the Xenomorph’s biological processes. In one grotesque sequence, we see the creature mature to full size in a fleshy cocoon, emerging from a vaginal-like opening in a disturbing birth scene.
The final 10 minutes of the film contain a surprise worth preserving for the theatrical experience. The sequence is so shocking, terrifying and exhilarating that it’s sure to become an all-time favorite for fans of the franchise.
While “Alien: Romulus” does fall a bit into the trappings of the Hollywood legacy sequel, it largely exceeds expectations. Viewers simply hoping to watch a good “Alien” movie will be pleased, and fans looking for a new experience are sure to find it here. As Ridley Scott ages, it becomes less and less likely we’ll see another entry in the series directed by him. But if “Romulus” is any indication of the future, the series is in good hands with Alvarez.
Drew Askeland is an Arts & Entertainment Intern for the summer 2024 quarter. He can be reached at daskelan@uci.edu.
Edited by Alaina Retodo and Jaheem Conley.
