Alien: Romulus
As a longtime fan of Alien and Aliens, and an admirer of H.R. Giger’s iconic work, I’ve always been captivated by the terrifying beauty of the universe he helped create. His biomechanical art, along with the unforgettable tension of the films, has left an indelible mark on my creative DNA. With several of Giger's art books in my collection, I’ve been deeply inspired by his unique vision. But when it comes to this latest installment, Alien: Romulus… I’m just not sure what to think.
The Opening
Set between the events of the first and second films, Alien Romulus begins with a sequence that, while not completely hooking me, made me hopeful for what was to come. The film opens with the acquisition of the original xenomorph, preserved in a chrysalis drifting through space after being jettisoned from the airlock in the first movie. This concept, though familiar, had the potential to set up something fresh. Visually, the laser cutting scene stood out—the intense red beams slicing through the void, reflecting sharply off the rigid hazmat suits.
The contrast between the aggressive lighting and the industrial suit design created a visually striking moment. It was one of those scenes that gave me a glimmer of optimism that this film might recapture the tension and style that made the Alien series iconic.
A Promising but Flawed Setting
Alien Romulus initially won me over with its depiction of the Weyland-Yutani mining colony. The dystopian setting felt appropriately grim and oppressive, capturing the corporation’s notorious disregard for human life. However, the world-building came off as somewhat cartoonish at times, lacking the nuance that could have made the environment truly immersive.
What stood out even more was the strange inconsistency in how this supposedly all-controlling conglomerate was portrayed. Despite the presence of an oppressive corporate entity, a group of young adults somehow managed to ascend into space without any clearance or surveillance from Weyland-Yutani’s "Big Brother" apparatus. This lack of logic undermined the sense of control and danger that should define the world of Alien.
The Environment and Design: A Nod to the Past
One aspect where Alien Romulus undeniably shines is in its environment and ship design. The film perfectly captures the retro-tech aesthetic from the franchise’s debut. The gritty, industrial design of the world and ship interfaces serves as a physical representation of Weyland-Yutani’s utilitarian approach. It’s a visual treat for fans of the series, where every button, lever, and screen feels tactile and analog, staying true to the franchise’s roots.
That said, much of this art style was already established in previous entries, most notably expanded upon in the game Alien: Isolation. The director openly acknowledged drawing significant inspiration from that game, and it’s evident throughout Romulus. While the execution is stellar, it’s worth noting that the film leans heavily on pre-existing visual cues rather than introducing anything truly original.
The Malfunctioning Android: A Misstep in Character Design
Another disappointment was the depiction of the malfunctioning android. I’m not sure if this character quirk was intended to add tension or convey vulnerability, but it ultimately felt more tedious than anything else.
In a franchise known for its competent and complex androids, this portrayal in my opinion, fell flat.
In the original Alien, the android Ash was deceptive and deflective, secretly working against the crew while carrying out Weyland-Yutani’s hidden agenda. His cold, calculating nature reinforced the sinister undercurrents of the corporation, making him a true embodiment of corporate malice.
In contrast, Aliens introduced Bishop, an android who was initially met with deep distrust from Ripley, who was still traumatized by her experience with Ash.
This untrusting dynamic between Ripley and Bishop made for some of the most compelling character development in the series. Ripley’s wariness is understandable given her history, and Bishop is fully aware of the bias against him. However, through his consistent actions—showing loyalty, selflessness, and even putting himself in harm’s way—Bishop gradually earns her trust. By the end, their relationship marks an interesting shift in Ripley’s view of synthetics, highlighting a rare positive evolution in a franchise often dominated by themes of betrayal and corporate greed.
In Alien Romulus, however, the android’s constant glitches and erratic behavior were more of an annoying distraction than a source of suspense. Rather than adding to the narrative, this character felt out of place, offering little more than superficial tension. In a world where androids have historically been used to explore themes of control, trust, and hidden agendas, this portrayal felt like a missed opportunity for deeper character exploration.
The Dynamic Between Rain and Andy: Echoes of the Past
One of the more interesting dynamics in Alien Romulus is the relationship between Rain and Andy. After Andy installs the chip from Rook, his behavior takes a noticeable shift. Despite this change, Rain chooses to look past it, demonstrating a level of trust and loyalty that’s reminiscent of the dynamic between Ripley and Bishop in Aliens.
This parallel becomes even more apparent when Rain goes back to save Andy, mirroring Ripley’s decision to rescue Newt in Aliens. In both cases, the female protagonists are driven by a sense of duty and compassion, even when the odds are against them. The tension between Rain’s doubts and her decision to put her faith in Andy creates a compelling layer of character development that nods to the franchise’s legacy while offering something fresh.
While the homage is clear, it’s worth questioning whether this connection was intended as a meaningful exploration of loyalty and trust or simply a rehash of old dynamics. In any case, this element brings some needed emotional depth to a film that at times struggles to find its own identity.
Rook: Exposition Overload and Lazy Fan Service
Then there’s Rook, the android modeled after Ash from the original Alien. While the idea of bringing back a familiar model could have been interesting, Rook’s character ultimately falls into the trap of being an exposition machine.
His constant rehashing of old events and explanations about the alien itself and the experimentation surrounding it came off as overly on-the-nose and, at times, downright juvenile.
To make matters worse, Rook’s reliance on recycled quotes from the original films felt like lazy fan service. Instead of evoking nostalgia, it had the opposite effect—I found myself groaning at how blatant and forced it was. Fan service, when done with subtlety, can be a delightful nod to the audience, but this was anything but subtle. The constant callbacks added no real value to the storytelling and only served to disrupt the flow, reminding me that I came to see something new, not just a collection of reused lines and ideas. At times, it felt like the film was more interested in pandering than in crafting its own narrative, leaving me rolling my eyes rather than feeling immersed.
A Confusing Reception and a Disappointing Experience
To my surprise, Alien Romulus seems to be receiving high praise, and I can’t help but feel a little confused by the reception. Maybe I’m too much of a purist. As a fan of the first two films, and someone who even has a soft spot for the setting of the third, I can admit my standards are high. I even appreciated Prometheus, despite its divisive nature. At least it ventured into uncharted territory and gave us something new to explore, even if the writing and direction were all over the place.
I really wanted to like this film—I really did. But to be honest, while the environment design and art were impressive, the bland characters, lazy fan service, and watered-down horror elements of the alien and facehuggers just grated on me. At one point, I legitimately felt like leaving the cinema out of sheer boredom and agitation. The only other time I wanted to walk out of a movie was during Transformers 4… and, well, that was for obvious reasons.