There’s just something about ’70s film franchises that makes them hard to quit. Outside of Jaws, franchises like The Exorcist, Halloween, and The Texas Chainsaw Massacre have continued to roll through the decades, despite some less-than-stellar entries. While few sequels can touch the original films, there is one franchise born in 1979 whose sequel is not only considered the best in the series but also one of the greatest sequels of all time. That franchise, of course, is Alien.
From Ridley Scott’s 1979 horror masterpiece to James Cameron’s action-packed sequel, the franchise seemed poised for greatness. Unfortunately, that wasn’t the case, as the series became muddled with mediocre to downright poor entries, leaving fans wondering why this franchise even needed to continue.
The answer is simple: an acquisition by the Walt Disney Company led to the 2019 announcement that the Alien franchise would not only be returning but would be helmed by Fede Álvarez, the director behind one of my favorite horror remakes, Evil Dead, and the underrated Don’t Breathe. It’s safe to say that curiosity was piqued, with hopes high for a return to glory for the franchise.
Five years after that initial announcement, Alien: Romulus has premiered, and one thing is certain: in cinemas, everyone will hear you scream. Fede Álvarez’s Alien: Romulus is a gnarly, visceral, and bold cinematic experience that brings the franchise back to its horror roots while not shying away from the action spectacle of James Cameron’s Aliens.
Alien: Romulus is set between Ridley Scott’s Alien and James Cameron’s Aliens, following a group of space colonists who discover an abandoned space station. As they venture into the station to scavenge, they soon realize it’s far from abandoned and come face to face with the iconic Xenomorphs.
While not fully relying on nostalgia, there’s no denying that Fede Álvarez and Rodo Sayagues’ screenplay sprinkles the greatest hits of the franchise throughout. Its effectiveness stems from how those elements are embraced. Álvarez and Sayagues bring a fresh perspective and new ideas while paying homage to the films that came before. The screenplay also begins to examine the tyrannical nature of the Weyland-Yutani Corporation and how it affects individuals within the colony, but it doesn’t dig deep enough into these ideas. The concept of “for the good of the company” is touched upon but never fully explored.
Romulus‘ character work commits one of horror’s biggest sins: most of the characters are treated more as fodder than individuals you can fully invest in. Outside of Cailee Spaeny and David Jonsson’s characters, Rain and Andy, the rest of the crew fails to deliver any depth that would allow for emotional attachment.
Despite that flaw, Cailee Spaeny and David Jonsson are the heart of the film. I was fully engrossed by their relationship and chemistry. Spaeny takes the baton from Sigourney Weaver with a magnetic and captivating performance, rich with emotion and growth, ultimately becoming a genuine badass by the film’s conclusion. Jonsson adds subtlety and vulnerability to Andy, making his performance a standout—he’s Alien: Romulus‘ secret weapon.
Now, what’s an Alien film without its aesthetic? Álvarez’s focus on practical effects in Alien: Romulus is rewarded with outstanding production design, beautifully shot by Galo Olivares. Have hallways ever looked better than they do in Romulus? That’s up for debate! While the film doesn’t lean as heavily on over-the-top blood and guts as Fede’s Evil Dead, the Xenomorphs have never been more terrifying. The reliance on practical effects over an abundance of CGI elevates the horror elements, making every face hugger and Xenomorph moment some of the best in the film.
There’s no denying that, even with the good, bad, and ugly of the film, the third-act twist may make or break Romulus for many. While I was fully on board with the swing and fresh take, it’s certainly going to be a talking point once the film hits a wider audience.
There’s no hyperbole here: Alien: Romulus is the best entry in the Alien franchise since 1986’s Aliens. Thanks for the claustrophobia and nightmare fuel, Fede! It’s greatly appreciated.
