'Alien Romulus' is a powerful sequel that rivals

As expected, the highly anticipated ‘Alien’ sequel is a worthy continuation of the series’ classics.

For fans, ‘Alien: Romulus’ is a perfect sequel. All the signature elements of the franchise are present, including the familiar plot of people trapped in a ship or closed structure by xenomorphs that kill them one by one. Facehuggers, eggs and slime, acid instead of blood, a small mouth inside a big mouth, races through corridors, artificial humans, computer retrofuturism, and an evil corporation have been staples of the bug’s films since the first ‘Alien’ and should continue.

In a sense, Fede Álvarez creates the ultimate ‘Alien’ roller coaster, writing the script with his usual collaborator, Rodo Sayagues. The script features a list of ingredients that appear on screen at a breath-taking speed. ‘Alien: Romulus’ is clearly the work of a fan (perhaps for the first time in the series) who refuses to give up on making the ultimate ‘Alien’ film. The posters, almost a collection of cards with iconic moments, show that they want to honour the franchise rather than change it.

Álvarez is a talented director suited for this position. Remember that his brilliant “Don’t Breathe” is like a series film without spaceships. As in ‘Evil Dead’, he uses a tight script and studied staging to make the set pieces flow naturally: the scenarios change shape, size, characteristics, and participants, gravity, and threats.

To clarify, ‘Alien: Romulus’ looks like a movie, not a series of office-designed action sequences glued together by an editor without creative vision. Fede Álvarez’s work, though less effective than ‘Evil Dead’ or ‘Don’t Breathe’, still exhibits a unique rhythm that rivals larger budgeted genre directors.

The film takes longer to start than expected (although it’s in keeping with the series: the marine badge at the start of ‘Aliens’ isn’t exactly digestible) and the characters aren’t the most charismatic in the saga, except for the defective synthetic, but it doesn’t matter. The film flows well once we get into it, with Fede Álvarez’s use of budgetary constraints and unique sound effects, reminiscent of the franchise’s early installments and unheard of in modern cinema.

Then comes the finale. We won’t reveal it, but Fede Álvarez’s talent is evident in his work, rivalling the explosive twists of ‘Don’t Breathe’ and ‘Evil Dead’. A great ending that confronts the series’ classics and redeems all of its first two acts’ flaws.

The film falls short of the franchise’s best due to a few details. The first is the need to bow to the easy wink and respect Twitter users who only find a film interesting if they can write a thread citing other films.

For instance, the script contains lines from previous episodes. Some fit better, but others, like the gratuitous quote from one of the saga’s two or three most iconic lines, feel artificial. The other films in the series, including the difficult-to-fit ‘Prometheus’ and ‘Covenant’, must be quoted and coherent. It works sometimes better, sometimes worse.

The worst part is the unjustified presence of a franchise-starting element that is executed poorly. It feels gratuitous and breaks with the film’s analogue charm and well-crafted practical effects. However, it is seen as an unnecessary ingredient and a possible interference from the studio, which knows these things sell marketing-wise.

Finally, an intangible drawback: the ‘Alien’ films are very different and often show an authorial stamp. Each one is from its father and mother, and they all share a DNA that Disney executives cannot express in a power point: existential suffocation by the immensity and, above all, cruelty of the cosmos. This is why ‘Alien’ films are often compared to Lovecraft’s works.

‘Alien Romulus’ is a powerful sequel that rivals

As expected, the highly anticipated ‘Alien’ sequel is a worthy continuation of the series’ classics.

By b0oua

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‘Alien Romulus’ is a powerful sequel that rivals

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