ALIEN: ROMULUS movie poster | ©2024 20th Century Studios
Rating: R
Stars: Cailee Spaeny, David Jonsson, Archie Renaux, Isabela Merced, Spike Fearn, Aileen Wu, Daniel Betts
Writers: Fede Alvarez & Rodo Sayagues, based on characters created by Dan O’Bannon & Ronald Shusett
Director: Fede Alvarez
Distributor: 20th Century Studios
Release Date: August 16, 2024
ALIEN: ROMULUS is the best movie in the ALIEN franchise since ALIENS. This isn’t to say ALIEN: ROMULUS is in the same class as the 1986 ALIENS or the 1979 original ALIEN. That would be demanding too much of practically any movie. However, it starts by honoring the basics. Yes, there is a bit of mad science going on, and yes, there are androids, but the focus is on the aliens enough for them to be scary and propulsive.
ALIEN: ROMULUS takes place in the franchise timeline between ALIEN and ALIENS. In an opening, we see what we’ll learn is the research space station Romulus/Remus bringing aboard a gargantuan rock.
Some months later, a group of twentysomethings born on a grim mining colony planet where the sun literally never shines understandably would like to go elsewhere. Their parents have all died of mine-related diseases or disasters, and our protagonists don’t want to suffer the same fate.
Rain Carradine (Caliee Spaeny) has extra incentive to leave as, instead of the furlough she was expecting, she’s been ordered to work another six years in the mines.
Rain’s old friend Tyler (Archie Renaux), his sister Kay (Isabela Merced) and their pals Bjorn (Spike Fearn) and Navarro (Aileen Wu) have devised a plan to get off-world. They’ve detected a decommissioned space station floating within range of a shuttle they can steal; they reckon they can pilot the station to a happier home.
To achieve this, however, they need the assistance of Rain’s android “brother” Andy (David Jonsson). Andy was found on a scrap heap by Rain’s late father and been reprogrammed so that his main function is to protect Rain. Were Andy human, he might be described as mildly intellectually challenged. He can, however, speak the language of the space station’s technology.
The space station turns out not to be decommissioned – the tech is mostly still working – but it is oddly devoid of crew members. Three guesses as to what’s happened here, and the first two don’t count.
The screenplay by director Fede Alvarez & Rodo Sayagues nimbly escalates the crisis by degrees. They want their ALIEN to remind everyone of what we loved about the original, while coming up with new riffs and details.
To this end, they pay homage to the first film in some surprising ways, including (finally, thank you!) remembering that the Aliens bleed acid and factoring in what effects that would likely have on metal structure and on flesh. Other callbacks include one that wouldn’t have been possible even a few years ago, and is accomplished with the physical and vocal assistance of gifted performer Daniel Betts.
Director Alvarez also faithfully replicates the dark techno look introduced by original 1979 ALIEN director Ridley Scott. The Romulus is full of grim foreboding even before we get to its inhuman inhabitants. Great use is made of elements like steam and burst pipes. Even the music score by Benjamin Wallfisch incorporates evocative motifs from Jerry Goldsmith’s 1979 soundtrack.
Spaeny begins by giving Rain an apt mournful weariness that is galvanized into terror and grit. Jonsson shows great range as Andy. Fearn does a good job with not a lot of material in making Bjorn an insecure bully, and the other actors provide effective backup.
ALIEN: ROMULUS won’t blow anybody’s mind or change the genre in the way that ALIEN and ALIENS did. It’s not really in a position to do so. That said, for those who want more of what we can reasonably ask from this universe, it delivers.
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