Alien: Romulus, the latest installment in the long-running horror-sci-fi franchise, takes place on a dilapidated space station, a familiar setting that evokes the eerie atmosphere of an abandoned factory rather than a bustling space hub. The station’s desolate state serves as a reminder of the terrifying alien creature that lurks within, a creature that Ridley Scott first introduced to the world in 1979. While the setting is designed to induce chills, there’s a strange sense of familiarity and comfort in its retro elements – the flickering computers with their primitive graphics and green code, the familiar whine of the air vents. For fans of the Alien universe, this familiar setting feels like a homecoming.
Romulus aims to return to the franchise’s roots, seeking to recapture the raw simplicity of the original film, a departure from the ambitious but divisive prequels, Prometheus and Alien: Covenant. These prequels, while visually stunning, were ultimately more concerned with the grander themes of creation and destruction, sacrificing the primal fear that made the original Alien so effective. Romulus, on the other hand, embraces its status as a straightforward creature feature, focusing on the visceral thrills and the relentless pursuit of survival.
The story centers around a group of young, desperate laborers, victims of the exploitative Weyland-Yutani corporation, the antagonist of every Alien film. While it’s refreshing to see the franchise focus on working-class heroes again, the characters lack the depth and complexity of their predecessors, such as Veronica Cartwright, Charles S. Dutton, or Ron Perlman.
The main character is a young woman named Ripley (played by Cailee Spaeny), an orphan who has formed a bond with a defective android (David Jonsson). The android, initially appearing as a robotic version of a neurodivergent sidekick, gradually develops a more complex and ambiguous role, mirroring the relationship between Ash and Bishop, two iconic AI characters from the franchise.
Director Fede Alvarez, known for his bloody Evil Dead remake and the suspenseful home-invasion thriller Don’t Breathe, brings his signature style to Romulus, incorporating a similar familial dynamic and a slick visual aesthetic. He pays homage to the franchise’s analog roots, utilizing practical effects and physical sets to create a tangible sense of danger and horror.
The film delivers on its promise of visceral thrills, with impressive splatter effects and well-crafted set pieces. Alvarez masterfully utilizes the Facehugger, the larval stage of the alien, showcasing more of them than ever before. A particularly tense sequence involving zero gravity and the Xenomorph’s acidic blood demonstrates Alvarez’s creativity and his understanding of the franchise’s action sequences, while still remaining true to its monster-movie roots.
However, despite these successes, Romulus struggles to offer anything truly new to the Xenomorph itself. The creature, while undeniably iconic, has become somewhat predictable after seven films (or nine, counting the Predator crossovers). As the film progresses, the fresh ideas begin to fade into the background, overshadowed by a barrage of references and familiar tropes. The class politics, the question of machine morality, and other recurring themes feel recycled and uninspired, lacking the depth and nuance of previous entries.
Set between the events of Alien and Aliens, Romulus feels more like a nostalgic echo of past stories rather than a compelling new one. While it’s commendable that the film incorporates nods to the franchise’s less popular corners, it ultimately relies too heavily on fan service and nostalgia, repeating familiar lines and showcasing Easter eggs.
The Alien series has always been characterized by its willingness to break away from the past, each new sequel offering a reinvention of the franchise. Romulus, unfortunately, succumbs to the Hollywood trend of exploiting nostalgia, lacking the boldness and originality that defined previous entries.
The film’s reliance on familiar tropes and its reliance on fan service become increasingly evident in the second half, culminating in a cameo that feels ethically dubious and aesthetically displeasing. While it’s possible to dismiss this as a simple miscalculation, it ultimately serves as a symbol of the film’s overall approach, which prioritizes nostalgia over innovation.
Alien: Romulus is currently playing in theaters. While it delivers on the visceral thrills and the nostalgic appeal of the Alien franchise, it ultimately fails to deliver a truly compelling and original experience.
