Alien: Romulus–Carrying a legacy too heavy for its shoulders

Folks growing up in the late '90s and early 2000s, especially those with cable TV in their home, might remember the Ridley Scott classic 'Alien.' The idea for the movie was nothing new but the making, the story and how the aliens were portrayed to be in the first movie, set a trend that is still being followed. 

The first movie was complete with a blend of sci-fi and body horror; a combination very few could even imagine pulling off back in the day.

Long-time fans of the franchise, specifically the 1979 'Alien', will find that the latest addition, 'Alien Romulus', has every bit of the classic etched into it.

In some respects, that works to its advantage. The first two films are still the strongest in the series, and 'Alien: Romulus'—a standalone story set between the events of 'Alien' and 'Aliens' (1986)—smartly honours its predecessors instead of trying to overhaul or reinvent them.

Directed by Uruguayan genre expert Fede Álvarez—known for his wild style and fondness for gore, as seen in his 2013 reimagining of 'The Evil Dead'—'Alien: Romulus' embraces the gruesome side of its horror roots. However, while it emphasises blood and guts over deeper story development, it struggles to establish itself as a uniquely distinct entry in the series, whether in style, tone, or theme.

Mixed feelings on the production

The film takes a little while to gain momentum, but the "stalking" sequences are expertly crafted, as is the later discovery of certain elements directly connected to the earlier films. 

The finale, which has been highly praised by those who have seen it, includes a scene so gruesome that even crew members reportedly had to look away during filming—a claim made by Isabela Merced that proves entirely understandable. You'll instantly recognise the scene in question, as it kicks off a wildly intense climax that ranks among the best in the series.

However, 'Alien: Romulus' leans a bit too heavily on the original films, with frequent homages and even some repeated lines. The overall structure closely mirrors that of the first movie, which works as a nod to its roots but can feel overly familiar. Certain scenes are almost direct reflections, especially as Rain undergoes a Ripley-like transformation by the film's end.

The film makes a questionable step by digitally recreating the now-deceased Ian Holmes in an attempt to revive a character from the original 'Alien'. The use of AI leaves a bad taste in your mouth even though it was intended to strengthen the film's connection to its predecessor. However, this choice comes across as unsettling, exploitative, disrespectful, and ultimately unnecessary.

A new take on the franchise

What sets this instalment apart—co-written by Álvarez with his frequent collaborator Rodo Sayagues—is the age of its main characters. This is the first Alien movie to feature a predominantly young adult cast, trading the gritty, worn-in workplace realism of the original film for a fresh cast of photogenic, youthful alien bait. 

Cailee Spaeny, notable for her performances in Priscilla and Civil War, shines in the lead role as Rain, while David Jonsson of Rye Lane brings a compelling, edgy presence as Rain's android "brother" Andy. The rest of the cast, however, is less distinctly developed, making it easy to guess which characters are destined to meet a gruesome end.

By centring on characters in their late teens and early 20s, 'Alien: Romulus' risks veering into the realm of typical YA sci-fi dystopias. However, it avoids the overly high-concept traps of series like 'The Maze Runner' by grounding itself in the established Alien universe and crafting a grim backstory for its young space colonists. 

They are the second generation of residents in a bleak mining settlement on a sunless planet, with the design team fully embracing the murky, rusted, and desolate aesthetics of this dead-end outpost.

Most of their parents have perished—victims of mining accidents, lung disease, or one of the frequent pandemics that ravage the settlement. The Weyland-Yutani corporation, which owns the mine, treats these workers as disposable, enforcing a near-slavery system of indentured labour that traps the younger generation in their parents' grim footsteps. 

It's no surprise that the kids are desperate to escape, hatching a rough plan to seize an ominously hovering, seemingly abandoned spaceship above the colony and pilot it to somewhere better—ideally, a planet with actual daylight.

The standout performer of Romulus, David Jonsson shines as a Synthetic whom Rain considers a brother. His character is damaged and reliant on Rain for guidance, yet he remains devoted to her well-being, aligning with his prime directive. 

However, Jonsson later makes a striking shift in his performance—a twist best left unspoiled here—that adds a compelling layer to his character.