“You disturbed people. You were too human, too idiosyncratic, thinking for yourself… You made people uncomfortable, so they made the following models with fewer complications.”
This line from Ridley Scott’s 2017 film Alien: Covenant encapsulates the essence of Scott’s prequel duology, which delves into existential themes, creation, and the cyclical nature of storytelling. Both Prometheus and Alien: Covenant are “idiosyncratic” works filled with provocative ideas that challenged audiences, much like Michael Fassbender’s character, David, challenges the values of his creations. Now, with Alien: Romulus, the latest installment, we see the franchise opting for a less complicated approach.
Directed by Fede Álvarez, known for his work on the Evil Dead remake and Don’t Breathe, Alien: Romulus is set between the events of Scott’s original Alien and James Cameron’s sequel, Aliens. This positioning allows Romulus to serve as a legacy sequel that aims to evoke nostalgia for the earlier films while rehashing familiar story beats and structural elements. Much like Jurassic World or The Force Awakens did for their respective franchises, Alien: Romulus offers a modern, streamlined experience that, while thrilling on the surface, ultimately feels a bit hollow in its attempt to replicate the essence of the originals.
TOP FIVE THINGS ABOUT “ALIEN: ROMULUS”
5. That Opening Sequence
I know the last paragraph might come across as harsh, but let me assure you that I walked into Alien: Romulus with an immense amount of excitement for a new Alien film. The elation and adrenaline rush I felt during the film’s opening moments were extraordinary. From the bold decision to twist the familiar 20th Century Studios fanfare as the film began, to the remarkably confident and accomplished visual language, and the pace and tone immediately set by the editing, everything was on point. Benjamin Wallfisch’s musical score, which drew from Jerry Goldsmith’s Alien score, James Horner’s Aliens score, and even 2001: A Space Odyssey, was masterful.
These silent opening minutes were deeply captivating, showcasing exceptional craftsmanship in every aspect of filmmaking. I was completely onboard and eager to see where Romulus would take me.
4. An Immersive World
Following the cold open, Alien: Romulus continued confidently, introducing the main cast and showcasing impressive practical production design. The opening act sets up the characters effectively, communicates the stakes, and immerses us in the oppressive day-to-day life under the Weyland-Yutani corporation. It was a solid start, full of promise.
What stood out most about this opening was how distinctly it felt like a Fede Álvarez film. My primary concern going into Alien: Romulus was that, after Disney’s acquisition of Fox and franchises like Alien, the studio might favor a younger, more flexible director like Álvarez over Scott’s unique vision, resulting in a less personalized film. However, the cold open and the first act reassured me otherwise. The film felt like a genuine Álvarez creation, carving out its own path as the story ramped up. What could possibly go wrong?
3. WEAK SPOT: Losing the Thread
Well, a lot, apparently. Despite the strength of the first act, which effectively establishes the world, stakes, and new characters, all of that seems to be discarded once the film transitions into familiar Alien territory. The characters and their motivations are overshadowed as they become mere fodder for a rehashed, formulaic experience. In the second half of the film, characters who were meticulously introduced are reduced to passive figures, mere instruments for Álvarez and his team to recreate their favorite scenes from previous Alien movies.
The film’s priorities shift drastically with the resurrection of a CGI-faced, de-aged, posthumous actor, which feels like a jarring and crude distraction. The characters become malleable plot devices whose motivations are adjusted at will to serve the next re-enactment of a classic scene.
Rather than exploring new ideas or addressing its own characters, Alien: Romulus seems more concerned with avoiding criticism of plot holes from fans who criticized Prometheus and Covenant. The film halts repeatedly to provide exhaustive explanations for characters’ actions, in a misguided attempt to preemptively counteract any nitpicking.
Ultimately, Alien: Romulus seems to be trying too hard to cater to fans in the least imaginative way, losing sight of being a unique film in its own right.
2. A Visceral Thrill Ride
But credit where credit is due: even as Alien: Romulus devolves into largely repetitive and unsatisfying retreads in its latter half, it remains a ridiculously well-crafted immersive experience. The film excels with its practical sets and effects, combined with inspired visual choices that add weight and impact to the CGI elements. Álvarez’s highly concentrated visual language and the bone-rattling sound design make Alien: Romulus a truly theatrical experience that I can’t help but recommend.
Álvarez has long demonstrated his talent for creating cinema-of-attraction experiences, as seen with his Evil Dead remake. With the biggest budget he’s ever worked with, he and his team have elevated their craft to new heights. Even if the film sometimes feels like a greatest hits remix of past Alien content, it undeniably looks and sounds spectacular while doing so.
1. WEAK SPOT: Shutting Up and Playing the Hits
Which brings us to the final and most damning point: Alien: Romulus feels so repetitively derivative of previous Alien films that it fails to make any meaningful statement on its own. What begin as potentially interesting and diverse storylines in the first act are callously discarded by the midpoint in favor of an endless parade of familiar tropes. To make matters worse, the film shows little interest in engaging with the legacy of the series it emulates, opting instead to simply rehash scenes without offering any new context or insight.
For instance, the iconic line “Get away from her, you bitch!” from Aliens is a climactic moment that encapsulates Ripley’s entire arc and the film’s core thematic thread. The intense score, the camera push-in, and Ripley’s dramatic emergence in the Power Loader create a cathartic and powerful moment. In contrast, Alien: Romulus lazily drops this line into the script with no context or motivation, reducing it to a hollow, insulting reference. My eyes rolled so far back that if I were a Weyland-Yutani Synthetic, you’d see the logo on the back of my head.
Moreover, the film’s latter acts are plagued by repetitive sequences that overshadow any meaningful thematic exploration. The first act sets up intriguing ideas—such as capitalism, the sacrifices made under its thumb, and the personal toll of escaping it—but the final act merely replays the climax of the original Alien, complete with the same lines and shots. This approach leaves the initial themes unresolved and abandoned, rendering them moot and squandered.
RGM GRADE
(C)
Alien: Romulus isn’t a complete disappointment; there’s a lot to appreciate in the filmmaking craft behind it. The visuals alone showcase a remarkable amount of imagination and creativity, which is genuinely impressive. However, I found myself constantly wishing that even a fraction of that creative energy had been applied to the story instead of merely recycling scenes from previous Alien films.
Some have called Alien: Romulus a “love letter to the fans,” but I have to disagree with that sentiment. As a longtime admirer of the franchise, I don’t want a film that lures me in with nostalgia only to rehash better entries in the series. What I crave is an Alien film that challenges my expectations, surprises me, and explores new and intriguing directions rather than resting on the franchise’s past successes.
I understand that new ideas might unsettle some viewers who prefer familiar territory, but it’s those very complications and innovations that lead to great films. Unfortunately, the absence of such elements is what holds Alien: Romulus back from achieving greatness.
