In mega-popular franchises like Alien, it’s common to have a primary filmmaker whose role can either be to continue as a director or to shift into a producer role, serving as a sort of supervisor of the original vision of the saga. Ridley Scott is that person, starting in 1979 with what remains my favorite film of the franchise and returning as both director and producer in Prometheus and Alien: Covenant. However, Scott has always been willing to let go of his project and allow other filmmakers to explore his world, some with more success than others – James Cameron delivered one of the best sequels of all time with Aliens. Now, it’s Fede Álvarez’s (Don’t Breathe) turn, with the help of his long-time screenwriter, Rodo Sayagues, and a completely new cast led by Cailee Spaeny (Priscilla), to try to win over audiences with Alien: Romulus.
The premise of this interquel set between the first two movies of the saga follows the basic formulaic concept that marks the series. A group of young colonists, yearning to leave their lightless, depressing, enslaving planet for a more paradisiacal world, decide to risk their lives by exploring the depths of an abandoned space station orbiting their planet. What seemed like a simple mission to retrieve cryogenic chambers leads the youngsters to encounter the most terrifying life form in the universe…
Alien: Romulus is, above all, a true rollercoaster of tension and suspense. Álvarez’s atmosphere-building skills are no surprise to any cinephile, but in the emptiness of space and the claustrophobic ship, the filmmaker combines his natural talent with the phenomenal work of his cinematographer, Galo Olivares (Gretel & Hansel), culminating in one of the most technically impressive films of the year. I even dare to say that if the awards season were ongoing right now, Olivares’ cinematography would deserve numerous nominations.
With jumpscares kept to a minimum and used with great effectiveness, Álvarez creates a genuinely frightening atmosphere that keeps any viewer on the edge of their seat through chilling sequences where the camera’s stability in moments of high tension – shaky cam is very rare – and a stunning play of lights with a vivid color palette, as well as excellent control of darkness levels and intelligent use of blurred backgrounds, stand out. Alien: Romulus is the most visually captivating movie of the entire saga, especially when it comes to interiors.
The production design is another commendable technical aspect, with the set design being a vital element for the palpable horror environment experienced throughout the narrative. The blend of incredible practical effects – it’s great to see animatronics back, the Xenomorphs feel scary again – alongside exceptional VFX work also stands out, contributing to a technically brilliant Alien: Romulus, complete with the necessary amount of gore and bloody deaths… except for one major, unfortunate exception that also brings up narrative problems.
This is a murky area in Hollywood that has encountered extremely controversial reception when applied, for example, in The Mandalorian or Ghostbusters: Afterlife. The rejuvenation of older or even deceased actors raises complex ethical and moral issues, but there’s also the visual problem of the technology simply not existing yet – or possibly ever – to create a fully realistic human facial performance without falling into the uncanny valley. In Alien: Romulus, the situation is even more difficult to understand because not only is a deceased actor brought back and the VFX are too distracting – it looks like a video game character – but it also turns a shocking, impactful revelation from the first film into something quite questionable.
Another component of Alien: Romulus similar to a video game is the structure of the plot. The interquel can be described as a sort of “best of”, “greatest hits” compilation of the saga, with references to lines of dialogue from other movies that only make sense with that external knowledge of the overall franchise, as well as repetitive homages to specific, even iconic shots from the saga. Álvarez and Sayagues walk the fine line between respecting cinematic history and blatantly copying it, but the intention is undoubtedly positive, though it only falters due to a severe lack of subtlety.
Alien: Romulus ends up getting lost in predictable formulas, and, despite several shocking moments and a truly insane third act filled with the best possible entertainment in terms of story and action developments, it culminates in a surprisingly safe ending. The thematic weight, particularly of the original film, is set aside in favor of a simpler, more straightforward blockbuster that satisfies the most basic expectations of viewers, with only the performances of Spaeny and David Jonsson (Rye Lane) giving the movie the appearance of having the potential for something more.
The actress once again demonstrates that she’s one of the great stars of her generation – she exudes a special aura in any film she stars in – delivering a powerful performance as the new Ellen Ripley. Her emotional range never fails to impress. That said, Jonsson is quite capable of stealing the spotlight with the most complex, technically challenging performance in Alien: Romulus due to the fact that he plays an android whose configuration and directives change throughout the movie, leading to abrupt shifts in personality, tone of voice, and accent, as well as facial and bodily expressions. Speaking of expressiveness, it’s impossible not to mention Isabela Merced’s (Turtles All the Way Down) fantastic ability to portray pure fear and despair. Remarkable display too.
Finally, an honorable mention goes to the sound design and score by Benjamin Wallfisch (Twisters). The composer’s music is another contributing element to the terrifying atmosphere that encompasses Alien: Romulus, but the real highlight is the powerful sound editing and mixing in IMAX. I repeat: technically, this film by Álvarez is among the best 2024 has to offer, with very few movies on par with it. Honestly, a bit more confidence in its own story and less reverence for the past would have made this interquel a serious contender for the best film of the year.
Final Thoughts on Alien: Romulus
Alien: Romulus is an impressive technical spectacle that highlights Fede Álvarez’s talent in creating an atmosphere of tension and horror, raising the audiovisual standard of the saga to new heights through immersive sound design and Galo Olivares’ stunning cinematography, which deserves countless accolades. However, its excessive reliance on references to the past prevents it from reaching its full narrative potential, as well as achieving a thematic impact similar to the franchise’s best installments. Despite this, the captivating performances of Cailee Spaeny and David Jonsson, along with a third act filled with insane entertainment, make this interquel a cinematic experience worth seeing in IMAX, even if it leaves the feeling that it could have been more daring and innovative.
Rating: B+
Alien: Romulus is now in theaters.
Learn more about the film, including how to buy tickets, at the official website for the title.