While scavenging the deep ends of a derelict space station, a group of young space colonizers come face to face with the most terrifying life form in the universe.
Chuck says:
Obviously a student of the “Alien” franchise, writer/director Fede Alvarez has managed to do something that I thought was impossible – he’s delivered a worthy addition to the series, a feat that’s proved elusive for many filmmakers and one that proves to be an effective call back to the Ridley Scott classic. Duplicating the look and feel of the 1979 original, “Alien: Romulus” manages not only to expand on the mythology of the franchise but also provide some decent scares that will satisfy loyal fans. That being said, the movie is not without its flaws, as it suffers from an overlong third act and some questionable aesthetic choices regarding its special effects during key moments.
Taking place between “Alien” and the 1985 follow-up “Aliens,” “Romulus” focuses on a group of young workers who find themselves stranded on far-off mining colony, overseen by the omnipresent, ever-evil Weyland-Yutani Corporation. Having been told her contract has been increased by 12 years, Rain (Cailee Spaeny) is desperate to get back home, so much so that she agrees to go along with a desperate plan to escape.
Approached by her friend Kay (Isabel Merced), whose brother Tyler (Archie Renaux) she once dated, she’s told of a deactivated docking station that’s drifting into the orbit of the planet where she’s stranded. It contains cryogenic chambers that would allow her and her cohorts to sleep long enough to make the trip back to Earth. All that needs to be done is to take the units off the ship, install them on another, go to sleep and set the autopilot for home. Easy peasy.
Along for the ride are hotshot pilot Navarro (Aileen Wu), motormouth Bjorn (Spike Fearn) and the synthetic Andy (David Jonsson, a standout), whose prime directive is to watch out for Rain, whose absent father has programmed him to do so. Damaged and lacking updates, he’s a bit slower than other cyborgs, yet his “heart” is in the right place, his allegiance to her unquestionable, their bond unshakeable.
Of course, once this crew reaches the derelict ship and start their salvage operation, things go sideways in a spectacular, horrific manner as the craft’s cargo includes not one, but many, many xenomorphs who’ve been waiting for fresh hosts.
Alvarez has done his research and with production designer Naaman Marshall and cinematographer Galo Olivares, they’ve replicated the look and feel of the 1979 original, creating a seamless connection to the previous film that proves vital. Callbacks to that movie occur throughout, none of them gratuitous, all logical allusions that give depth and resonance to the story. But more importantly, it returns the franchise to a more intimate scale that creates a much more ominous, claustrophobic setting, which Alvarez exploits to great effect.
Wisely, Alvarez takes a very deliberate approach to the story, which serves a dual purpose. Not only is time taken for the necessary world building to reestablish and expand on the “Alien” universe, but tension is built by delaying the requisite scares. However, once they begin, Alvarez delivers the goods with one imaginative sequence after another, putting the characters in situations of peril that are suspenseful, as well as fun. In the end, I found myself grinning over how clever the film is more than looking at it through threaded fingers.
And while there are many good things at play, the film suffers in two glaring areas. Like so many modern action epics, Alvarez doesn’t realize when he’s overstayed his welcome. Third-act bloat sets in, as Rain has to go back again and again to face the saliva-dripping, multi-jawed threat, the suspense ruined by the repeated cycle of familiar narrative beats. This is particularly glairing as so much of what has come before is tautly told.
More egregious are two visual effects sequences that are so slipshod they take us out of the story. While Alvarez’s intention to use practical effects throughout is commendable, and in keeping with the feel of the first two films, this approach results in some obviously slipshod work , once during a big reveal, the other during the final confrontation between Rain and the creature. So poorly rendered, they call attention to themselves in a comical way that shatters the illusion the filmmaker worked so hard to create, leaving at least this viewer with a bad taste.
Still and all, “Romulus” proves to be a return to form that’s been absent for far too long in the franchise. Cheaply rendered sequels, B-movie team-ups and over-thought prequels have made for a frustratingly, inconsistent series of movies. And while not perfect, this latest entry gets things back on firmer ground by delivering a smart story, intriguing science-fiction and the sorts of thrills viewers embraced when this saga first began.
3 Stars
