‘ALIEN: ROMULUS’ Review: Frightened Folk Screaming in Space is Back & Better Than Ever (With One Caveat)

Courtney Howard // Film Critic

ALIEN: ROMULUS

Rated R, 1 hour and 59 minutes

Directed by: Fede Alvarez

Starring: Cailee Spaeny, David Jonsson, Archie Renaux, Isabela Merced, Spike Fearn, Aileen Wu

***This should go without saying, but here goes: If you want to remain as clear as possible until you see this film, BOOKMARK this page and STOP READING until later.***

There are loving homages to the ALIEN franchise tucked away in every corner of director/ co-writer Fede Alvarez’s ALIEN: ROMULUS, from the tiniest of details amongst the production and costume design to the touchstone-rich score and inspired lighting cues. It’s a respectful, blood-soaked pastiche that broadens the series’ evergreen themes on human existence and exploration, as well as compelling commentary on corporate greed, imperialism and colonialism. While it subtly plays the greatest hits, it also brilliantly innovates, delivering smart, savvy thrills. It’s gnarly, gripping and gorgeously bleak.

The plot follows a familiar formula: a ragtag crew takes a ship into outer space, exploring an unfamiliar environment when all hell breaks loose. Alvarez and co-writer Rodo Sayagues’ story is no different when it comes to hitting those basic, beloved beats. Yet it’s what’s in between the prescribed outline that dazzles and electrifies. After losing her parents, 25-year-old Rain (Cailee Spaeny) wants nothing more than to leave the dank, hopeless mining colony on Jackson’s Star and high tail it to the serene sanctuary of Yvaga. But just as she thinks her corporate-mandated duty is set to expire, the rug is pulled out from under her, keeping her stuck in servitude for much, much longer.

Enter Rain’s ex-boyfriend Tyler (Archie Renaux), who’s cooked up a heist with his friends and family, including his sweet, secretly pregnant sister Kay (Isabela Merced), brash bestie Bjorn (Spike Fearn) and tech savvy pilot Navarro (Aileen Wu). They’ve heard that Weyland Yutani has spare cryo-beds aboard a derelict Remus-Romulus space station orbiting their atmosphere and they need them for their trip to Yvaga. They just need Rain’s surrogate synthetic brother Andy (David Jonsson) to unlock certain overriding computer protocols. At first reluctant, Rain eventually caves, rocketing into outer space. Once aboard, however, the scavengers quickly learn they’ve stepped into a horror show, filled with sinister xenomorphs stalking them as prey and creepy, crawly facehuggers that pop out of their containment units like Jiffy Pop popcorn.

Alvarez and Sayagues construct the horrific proceedings as if it’s a haunted house where the guests are forced into a series of tests in order to survive. Each new area of the decommissioned science station presents a new set of challenges. Claustrophobic tension and fear run at an all-time high, coursing through standout sequences like where characters are tasked to sneak through a hallway infested with parasitic face-huggers (vibrating on the same tonal scale as the ceiling dangle sequence in MISSION: IMPOSSIBLE) and the zero-gravity dodge of xenomorph acid blood (as glimpsed in the trailer).

After RESSURECTION, PROMETHEUS and COVENANT short-changed us on rootable heroes, it feels refreshing to see those back on screen in the heart-filled bond portrayed by Spaeny and Jonsson, the latter of whom turns in an impeccable, commanding performance. Though her metamorphosis is strong, it’s his textured nuance that’s genuinely stellar. His transformation is captivating, morphing from a dad-joke-spewing simpleton to intimidating leader, showcased in his physicality and his slippery, shifting sensibilities.

In addition to perfectly threading in narrative themes from the 6 previous pictures, they also creatively layer in nostalgic callbacks, ranging from innocuous to overt. Those moments, for the most part, are blessedly not reliant on being fan-service for fan’s sake. Dazzling visuals of the Corbelan ship traveling through cosmos are awe-inducing, best viewed in IMAX to overwhelm your senses. Practical sets, taking their cues from the Nostromo designs (and sound effects!), and creature effects give the picture a tactile, throwback feel. Jake Roberts’ crisp cuts on the horror heavy sequences keeps the building momentum taut. Benjamin Wallfisch’s score, which oscillates from orchestral to pulsating synths, blends past and present, augmenting the atmospheric pull of these compositions. Cinematographer Galo Olivares’ work is equally impressive, not solely restaging iconic imagery, but blazing a new trail.

Still, there is one major blight that’s difficult to ignore which I’d be remiss to not mention, at least in as vague of terms as possible. Much like Jason Reitman’s GHOSTBUSTERS: AFTERLIFE exhumed the deceased Harold Ramis to make him into a narrative figure of importance, Alvarez’s film is equally culpable of committing the same ghoulish cinematic crime, utilizing a dead actor from the franchise’s past. We’re forced to wade into ethically murky territory early on, confronted by mixed feelings, wondering if this person (not solely his estate, who are thanked in the end credits) would’ve approved this creative choice or outright rejected it, when we should be fully immersed in the otherworldly escapism.

It would be one thing if these filmmakers were up-cycling unused footage or dialogue (a la Carrie Fisher in THE RISE OF SKYWALKER, or Peter Cushing in ROGUE ONE). However, it’s not. It’s a new invention. It’s akin to the situation on BACK TO THE FUTURE II where another actor used a mask made from the mold of Crispin Glover’s face made exclusively for use in BACK TO THE FUTURE (except in that case, Glover was very much alive and didn’t approve of his likeness’ usage). Plus, it goes a step further, making this person a central supporting player with effects that – compared to the picture’s other sensational practical sets, props and creature effects – look jarringly subpar. It gives us pause instead of the praise these creatives are clearly seeking.

Outside of that, though, this bridge between two masterpieces (ALIEN and ALIENS) is an incredibly fun, imaginative adventure worth experiencing on the biggest screen possible. Taking big swings in the 3^rd act pays off, giving us an absolutely bonkers and fun finale worth savoring. It’s bound to make you scream – in whatever space you’re in – with glee.

Grade: B-

ALIEN: ROMULUS opens in theaters on August 16.