Alien: Romulus (2024)
Some films are made with the intention of starting a franchise, others evolve into one after a surprise box office success and lucrative sequels. Alien (1979) falls into the latter category. A mid-budget science fiction horror film that was well crafted and then benefited immensely by being released at just the right time. Sadly, many franchises become derailed and enter into a death spiral due to competing artistic visions, cynical studio politics and cinematic ignorance. This has certainly afflicted all subsequent Alien films after James Cameron’s magnificent Aliens (1986). Sometimes, a franchise can correct its course and do something fresh with the source material. Prey (2022) is a fine example of this with director Dan Trachtenberg bringing fresh vigour and intelligence back to the Predator movies. I believe that was the intention with Alien Romulus (2024). Sadly, the road to hell is paved with good intentions.
Rain Carradine (Cailee Spaeny) works and lives with her adoptive brother Andy (David Jonsson), a malfunctioning, reprogrammed android at the Jackson's Star colony on LV-410. After her work contract is forcibly extended by the Weyland-Yutani company, Rain's ex-boyfriend Tyler (Archie Renaux) persuades her to join an expedition with his pregnant sister Kay (Isabela Merced), their cousin Bjorn (Spike Fearn) and adoptive sister Navarro (Aileen Wu). They intend to loot a derelict spacecraft and retrieve cryostasis chambers so they can escape to the planet Yvaga. Andy's ability to interface with the onboard computer system is crucial for the expedition. Using an ageing hauler, the Corbelan IV, they dock with the space derelict to find it is a Weyland-Yutani research station. However, restoring the station’s gravity and power have unforeseen consequences, as the company has been experimenting with xenomorph biology. When they repair a damaged android called Rook, they learn the true nature of the danger they face.
I shall keep both my praise and criticisms for Alien Romulus short. This is a handsome production with good visual effects. The budget has been spent well. The film quickly sets out its stall, introducing the characters and setting up the plot. For the first forty minutes or so, Alien Romulus keeps the viewer onboard and focused. And then it sidelines all the ideas it briefly alluded to in the first act and just lapses into a rather trite fan service. It constantly refers to or tries to recreate classic scenes, tropes and dialogue from all previous Alien movies. It also tries to tie in numerous plot ideas from previous films, regardless of whether they’re a good fit with what is actually going on. Alien Romulus should have been able to stand on its own two feet and the only reason it was not allowed to do so is because it was decided by the studio that it was less risky if they just gave the audience a film version of a “greatest hits” album.
I won’t waste my breath or time discussing the failings of the existing film studio system or the way they treat the intellectual properties they hold. No film director sets out to make a bad film, so I see no reason to lambast director Fede Álvarez. I’m sure he did not have a free hand and had many constraints placed upon him. Sadly, Alien Romulus is a classic example of the “cakeism” mindset that blights Hollywood at present. Where a director or writer is brought in to allegedly shake things up but at heart the studio is far too risk averse to really do anything radical. Hence, they constantly interfere and mitigate any originality that is proposed, resulting in stupefying mediocrity. Perhaps the most egregious aspect of this business philosophy is the utter contempt it has for the audience. If you’ve never seen an Alien film before, you may find Alien Romulus mildly diverting. Fans of quality cinema and integrity in film making, will roll their eyes and be unsurprisingly disappointed.
