AP – “In space, no one can hear you scream”, went the tagline for the original Alien in 1979, a terrifying thought on multiple levels.
There may indeed be a scientific rationale for a space scream to be inaudible, but isn’t it scarier to simply realise nobody’s around to hear you?
That was the case for Sigourney Weaver’s Ripley, once she became the last one standing against the fearsome Xenomorph. Nobody could hear her scream – nobody human, that is – because, duh, everyone was dead.
In any case, hearing won’t be a problem here on Earth at any multiplex showing Alien: Romulus, the much-anticipated new installment to the Alien franchise (not a sequel, but we’ll get to that in a minute). This is a very big, very (very!) loud, very jumpy horror flick, and the screams will come, and they’ll be audible. Which is precisely what Alien fans are surely waiting for.
And speaking of Ripley, no, neither she (nor Weaver) are present in this new version by Fede Álvarez, closer in feel to the horror roots of Ridley Scott’s original than James Cameron’s more action-focused 1986 Aliens. But now we have Rain Carradine, played by rising star Cailee Spaeny (Priscilla), a new-generation Ripley in everything but name. Spaeny takes up the mantle of badass space fighter with aplomb, and is easily the best part of a movie that, like the 1979 original, is short on character development.
There are many other parallels (and winking nods) to the original (Scott is a co-producer here). But like we said, don’t call it a sequel. In fact it’s an “interquel”, which wouldn’t be a bad horror film title in itself. The dictionary explained that it’s neither sequel nor prequel, but rather a “middlequel” between installments, known as “quels”.
Just kidding! It’s not in the dictionary. But it’s worth noting that Álvarez, in placing his movie between existing versions to form a new trilogy, yet aiming also for standalone entertainment, risks some tonal confusion.
Not that you’ll be able to hear your thoughts, should this occur to you.
The premise is new, sort of.
Álvarez, who co-wrote the screenplay with Rodo Sayagues, has said he got the idea from a deleted scene from Cameron’s film, in which young kids were seen among workers in a mining colony, and wondering what their lives would be like when they reached their 20s.
At the beginning, we find out: life is bleak indeed in the colony on Jackson’s Star, owned by the worker-exploiting Weyland-Yutani firm.
Rain’s miner parents have died of lung ailments. They’ve left her a caring brother, Andy, who is actually a “synthetic”, or humanoid robot. The “human” element is crucial because it allows an empathetic David Jonsson, in the role, to connect to the audience in a way that otherwise only Spaeny does – the rest of the cast is given virtually nothing to work with.
In any case, the two are not long for Jackson’s Star. After Rain is turned down for a travel permit to finally escape dark colony life, she and Andy join a risky venture.
There’s an (apparently) decommissioned space station hovering above, and if they can raid it of hardware and other loot, they can bypass the brutal wait for permits and finally make it to a new home.
And so, reluctantly, the two agree to join the others – Rain’s ex-boyfriend Tyler (Archie Renaux), his sister Kay (Isabela Merced), Bjorn (Spike Fearn) and Navarro (Aileen Wu) – on a bumpy flight to the Renaissance station.
Surely we’re not spoiling much to say that it’s best not to get attached to anybody. Because, we all know what’s waiting up there, don’t we?
It’s already been teased in the opening, with the rickety old station looking much like USCSS Nostromo, that ill-fated space tug in the original.
We hardly needed the hint, though. This is an Alien movie and it’s all about the Xenomorph, that terrifying creature who is diabolically “perfect”, able to survive in any atmosphere and to multiply, obviously, in the most disgusting of ways.
It’s not really a party – or a movie – until the creatures show up. And that, they do. Much has been made of this film’s use of practical effects, rather than a CGI-created universe.
The actors have said this – as well as shooting in a linear fashion – helped them feel the genuine horror needed for their portrayals.
Does all this elevate the film beyond any of its predecessors? Like so many franchises that depend on intense fandom, that truly depends from what vantage point you’re joining in.
Fans of the original will appreciate the many respectful echoes of that film. Fans of Cameron’s take will appreciate the action that comes later in the film.
And while some will applaud the wild, outlandish, creative and possibly ridiculous swerve of those final minutes – not to spoil it – others may even laugh rather than scream.
It’s all good, though. In space, probably no one can hear you laugh, either. – Jocelyn Noveck
