With stunning images, a solid cast and some effectively staged terror, Romulus is probably the best Foreigner film since 1986, although it is marred by some of the flaws that derailed previous sequels.

About the film

Ridley Scott’s Foreigner (1979) is a horror masterpiece that skillfully weaves together a claustrophobic atmosphere, relentless tension, a terrifying monster and an iconic hero. Unfortunately, apart from Aliens (James Cameron’s action-oriented sequel from 1986), subsequent films have not come close to achieving the same quality. Alien: Romulusthe 9^th In this film in the series, director Fede Álvarez attempts to revitalize the franchise by going back to basics. With stunning visuals, a solid cast and some effectively staged terror, Romulus is probably the best Foreigner film since 1986, although it is marred by some of the flaws that derailed previous sequels.

Alien: Romulus lies in the period between Foreigner And Aliens and follows a group of young adults who attempt to loot equipment from an abandoned space station in order to escape their imprisonment by the Weyland-Yutani Corporation. Unfortunately for them, the abandoned station turns out to be less abandoned than they had hoped. If you have previous Foreigner Movies, you know how it goes.

In many ways, Romulus plays out like Star Wars: The Force Awakenswhich retells the plot of the original film almost blow by blow, but with a new twist. Alien: Romulus is essentially Alien: Greatest Hits. In an almost metaphysical way, the film begins with a spaceship that literally pulls pieces out of the wreckage of the Nostromo (the ship Ripley exploded in the original film). From then on, the filmmakers continue to collect images and plot points from the long history of the series. Audiences expecting something new won’t find much here, but it’s been decades since these familiar elements have been used so effectively.

What makes 1979’s Foreigner Ridley Scott’s cinematic masterpiece is how he managed to create a sense of pervasive dread even though the Xenomorph alien is only on screen for four minutes. He understood that the fear of the unknown lurking in the darkness is more terrifying than anything he could put on screen. Romulus captures some of that breathless tension, but only in bursts. The action sequences in which the aliens are present are thrilling, but the film takes its foot off the gas when they’re not in the picture. The film plays on viewers’ fear of visible horrors, but doesn’t always capture the imagination.

The problem with relying more on “seen” rather than “unseen” horrors is that the more often the Xenomorph aliens appear on screen, the less effective they become. In fact, the film essentially dispenses with the iconic creature entirely in the final act (more on that below). Still, if the moments of suspense Do When they do occur, they are exciting and well done, such as in a superb scene where the characters must silently traverse a room full of “facehuggers,” or another where they float down a corridor in zero gravity while acidic alien blood swirls around them. It’s also worth noting that the use of practical effects is a welcome development, making the danger seem more tangible and immediate.

Of course, for the thrill and the horror to work, the audience has to have an interest in the people who are in danger. Actress Cailee Spaeny (Priscilla, Civil War) once again shows why she is one of Hollywood’s rising stars. She lacks the raw toughness of Sigourney Weaver, but her earnestness and identification make her a worthy successor. David Jonsson is also excellent as an android named Andy, showing great range as updates in his programming drastically change his personality, essentially forcing Jonsson to play multiple characters. Despite being a robot, his character adds some much-needed humanity to the story.

The Foreigner Franchise has often shown a willingness to go all out with big ideas and controversial storytelling choices. True to its nature, Romulus’ The twist in the third act will be divisive. Without giving away any spoilers, it is similar to the moment in Jurassic Park III when the T-Rex is killed to introduce a man-made dinosaur hybrid as a new threat. Personally, I didn’t like the ending. The day the classic Xenomorph alien is no longer threatening enough for the climax of the film could be the day the iconic creature is retired.

The Xenomorph may not be the menacing presence it once was, but this film proves that the series is not dead. While it may not reach the heights of Ridely Scott’s original film, Alien: Romulus is undeniably good Foreigner film, sometimes even a great one. Despite its derivative narrative style and shaky third act, this is the series’ best effort in decades.

On the surface

For consideration

Beneath the surface

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Corporate greed and evil human nature

A basic theme in most Foreigner Films are the dehumanization that results from the greed of corporations. In RomulusThis tension is most clearly embodied by the android Andy, who is torn between opposing main goals: “What’s best for Rain” (Cailee Spaeny’s character) and “What’s best for the company.”

The commentary against “big corporations” is clear, but the film also hints at deeper themes. The aliens themselves have always been somewhat symbolic (they represent different things to different filmmakers). It has also always been significant that the alien creatures are born from human hosts. Given what happens in the film, this disturbing connection to birth and motherhood is even more evident.

At one point, a representative of the Weyland-Yutani Corporation refers to the androids as the “backbone of our colonization” (a statement that has even more meaning because it’s directed at the cast’s only black actor). At the same time, it’s revealed that the protagonists plan to abandon Andy in the event of a successful escape, as their destination doesn’t allow for non-humans. In both cases, the android is used and disposed of. The same selfishness and evil that drives the Corporation rests in all human hearts (Romans 3:23). In this sense, the film’s climax (though shaky from a narrative perspective) works as a metaphor that sums up the theme that the real threat to humanity comes not from terrifying aliens in the void of space, but us when we allow ourselves to be driven by selfish greed and the vain desire to “play God” (Genesis 3:5)