‘Alien: Romulus’ Movie Review: Fede Àlvarez Delivers A Thrilling Entry That Fumbles The Finish
Photo from 20th Century Studios
From Joe Peltzer
If we’re not going to get a third Alien vs. Predator, then I guess Alien: Romulus will have to do. In fact, Fede Àlvarez’s entry into the famed Ridley Scott franchise is a return to form, balancing the horror and callbacks with just enough of an intriguing (and simple) story to deliver one of the best of the series. That is, until the last 20 minutes throw it all away.
In the film, a group of young space workers longing to break away from a life of servitude to the Weyland-Utani Corporation, scavenge a seemingly abandoned space station for cryogenic chambers that can assist them in heading to a more desirable planet. While there, however, they encounter the titular Alien and a legion of Facehuggers. The admittedly thin plot was just what this film needed, allowing for the tension and action to take center stage in what basically amounts to a filmed escape room.
Cailee Spaeny (Rain) is an excellent lead, eclipsed only by David Jonsson’s Andy; their chemistry is palpable and immediately thrusts you into caring about them. Spaeny has an emotionally delicate air about her character, allowing for her moments of strength later in the film to be digested with much excitement. Jonsson, for his part, plays an android in most convincing fashion, a fun piece of the group dynamic that creates unique challenges and satisfying payoffs. I could have watched Spaeny and Jonsson spitting dad jokes back and forth to one another for hours. The rest of the cast is solid, namely Isabela Merced’s Kay and Archie Renaux’s Tyler, the former of which is largely relegated to the sidelines. Rounding out the crew is Bjorn (Spike Fearn) and Navarro (Aileen Wu).
Where Alien: Romulus shines (pun intended) is with its visual flare, dynamic sound design, and immersive production design. There are scenes in which a spaceship shines light into windows of the desolate station that are stunningly beautiful. Add in the tantalizing sound design and you get an atmosphere that sets the tone for the film, one that leaves you uneasy and on edge the entire time. The practical effects are *chefs kiss*, absolute standouts in every scene.
Àlvarez focuses largely on the Facehuggers for a good portion of the film, a choice that was overwhelmingly effective and exciting. By the time the Xenomorph arrives, you’re well primed for the chaos that ensues. The director expertly balances character development (specifically for Spaeny and Jonsson) with the horror elements that made the first film so successful. The scares are earned, and they are aplenty. One silent scene in particular had me on the edge of my seat. Think Don’t Breathe, but in space.
All is going well in Alien: Romulus until we’re back on the cargo ship and a divisive story choice is made. Without getting into what exactly said choice is, I will say that it took an otherwise back-to-basics and well-executed Alien film and hooked a hard left that didn’t work for me. It’s not the action that was an issue; the bonkers final frames are wildly stirring. It’s the introduction of a specific something that didn’t hit. Sometimes success can be found in doing what already exists well instead of attempting to chart new territory. This isn’t something that is isolated to just Alien: Romulus; Prometheus and Alien: Covenant played in the same pool. It didn’t work then for me, and it does not work now.
As a whole, however, Alien: Romulus is immensely satisfying, a thrilling adventure with great performances and fulfilling drumbeats. Àlvarez has reinvigorated the franchise in an arguably more marketable way than the most recent entries and leaves you excited for where things go from here. Just forget about that third act wildcard.
Rating: 4/5
Alien: Romulus hits theaters Friday.
