Review of "Alien: Romulus": Despite Gorgeous Visuals

Even in terms of style, Alien: Romulus aims to fuse the first Alien film with the later Aliens: The Last Stand. Rather than disregarding certain aspects of the franchise narratively, as some recent sequels have done, it disregards them conceptually, ignoring the contaminations Fincher and Jeunet introduced to the xenomorph universe and giving the two prequels directed by Ridley Scott only a passing mention on HD Movies Soap2Day. It starts off by overtly copying the 1979 Scott version, reinstating the themes of contamination and the threat that incubates in the body before engulfing it; after that, it plays with multiplicity, eschewing the military/space imagery of Cameron's film, skillfully fusing a dialectic of predator and prey with claustrophobic anxiety and cosmic confusion, bloody physicality, and horror.


The generally excellent staging is only slightly "dirtied" in the somewhat disorganized conclusion, which is also a result of the decision to go overboard in the sake of coherence, as we have just discussed. The possibility of a second midquel is clearly open: there is still time before Ripley and crew head back to Acheron to help the xenomorphs ingest lead, guided expertly by Cameron. For the sake of those who are more inquisitive, just to clarify, there isn't a post-credits scene. Maybe this movie, along with several other recent hits, has finally shown that it's time to break free from this tiresome habit. Thus, the go-ahead is given to the overt allusions to Scott and Cameron's movies, the technologically confining interior design of bases and spaceships, the iconographic allusions to Ripley & Co., and even some of the frenzied dialogue lines that have persisted throughout history and are being proposed here exactly as they are. Greenlight also goes to the extremely potent interplanetary computers, which have monochrome panels and keyboards akin to several Commodore 64s. One would ask if all of this isn't a bit excessive for a 2024 sci-fi horror film that is openly "serious". The explanation is that there is a discrepancy, particularly considering how largely contemporary the film's packaging is.

Location: Washington, USA

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