As a lifelong fan of the Alien franchise, I found the recent short film “Alien: Romulus” to be a chilling and exhilarating experience. The physical transformation of Spaeny’s character was nothing short of breathtaking, with her performance truly embodying the raw terror that the Xenomorph represents.
Contains spoilers for “Alien: Romulus”
The movie titled “Alien: Romulus” harks back to the original horror/sci-fi series’ origins and has successfully converted many doubters. On Rotten Tomatoes, reviews for “Alien: Romulus” are almost universally favorable, with critics lauding its intense fear factor and a revitalization of the franchise following some contentious sequels. However, a recurring criticism in numerous reviews is that the film leans excessively on fan service and recalls pivotal scenes from the 1979 “Alien” and its successor, 1986’s “Aliens.” Given this heavy emphasis on nostalgia, it’s no wonder that “Alien: Romulus” is filled with subtle details and references that might be challenging to spot during an initial viewing.
The film departs significantly from other installments in the series by starting off in an unusual way. Characters Rain, played by Cailee Spaeny, and her synthetic brother Andy (David Jonsson) live on a grim, polluted mining colony where they appear to be confined for life. A chance arises for them to pursue a better future; friends of Rain’s propose a brief journey with them to an abandoned space station.
As a dedicated fan, I can’t help but notice an intriguing element awaiting them at that station. The unfolding chain of deaths and battles seems to encapsulate the most thrilling moments from the entire “Alien” series up until now, creating a compelling narrative that resonates deeply with fans like myself. If you’re eager to delve deeper into the connections between “Alien: Romulus,” real-world mythology, the “Alien” video games, and other fascinating aspects of this expansive universe, here are some insights you might have overlooked.
Fede Álvarez certainly has his interests
After directing the initial “Alien” movie, Ridley Scott revisited the series with “Prometheus” in 2012 and “Alien: Covenant” in 2017. Considering the mixed reactions to these films, it’s logical that a fresh perspective was needed. So, while Scott is a producer for “Alien: Romulus,” Fede Álvarez has stepped into the director’s role instead. Álvarez is familiar with the horror genre, having directed the 2013 reboot of “Evil Dead” and “Don’t Breathe.” In fact, if you look at his body of work, it seems that many of his films adhere to a similar narrative structure.
In essence, “Romulus,” “Evil Dead,” and “Don’t Breathe” share a common structure: They each revolve around a limited number of characters who find themselves in an isolated setting, only to be confronted by a menacing entity (Xenomorphs, deadites, or a highly skilled blind man). The story unfolds with numerous deaths among the characters, but ultimately, one manages to escape. Furthermore, these films incorporate either direct or symbolic themes related to sexual assault.
In one way or another, Álvarez has delved into similar concepts throughout his body of work. Notably, he is credited as a writer for these three films, suggesting that these are topics he’s keen on investigating. Given his areas of interest align with those of the “Alien” series, it’s likely that his past works played a significant role in securing him the “Romulus” position within the franchise.
Who are Romulus and Remus?
A significant portion of the story in “Alien: Romulus” unfolds within a space station divided into two sections called Romulus and Remus. An intriguing fact about this installment of the Alien franchise is that Weyland-Yutani, the corporation central to the series, draws inspiration from Roman history and mythology, as evidenced by the naming of these modules. In Roman legend, Romulus and Remus were brothers who founded Rome; however, Romulus ultimately killed Remus. The theme of sibling rivalry and mistrust is central to “Alien: Romulus.”
Andy may be a synthetic, but Rain refers to him as her brother. His primary directive at first is to do what’s best for Rain no matter what. But his programming receives an upgrade while on the space station, greatly enhancing his intelligence and giving him a new directive: to do what’s best for Weyland-Yutani. This leads him into direct conflict with Rain, but fortunately, they’re able to avoid the same outcome as the Roman myth, with Rain rebooting Andy back to his more compassionate programming.
In addition, the allusions to Roman mythology continue. The iconic depiction of Romulus and Remus involves them nursing from their foster wolf mother. Similarly, at the end of “Alien: Romulus,” Kay (Isabela Merced) gives birth to a hybrid creature that is half-human and half-Xenomorph. Later, this hybrid is seen feeding on Kay, ultimately resulting in her death.
There’s a phone from Alien: Isolation
The movie “Alien: Romulus” showcases its respect for the entire Alien film series in several ways. For instance, Ian Holm, who was digitally revived, reprises his role as science officer Rook, a character he originally played in the Alien movies. Additionally, it’s revealed that the scientists in the Renaissance were conducting experiments with the black goo, which was a significant element in the movie “Prometheus.” But Fede Álvarez doesn’t limit his tribute to just the films; if you keep an eye out, there’s also a nod to the 2014 video game “Alien: Isolation” hidden somewhere.
Álvarez expressed his admiration for the game during an interview on “Inside Total Film” podcast, stating that he started playing it shortly after its release and felt, “If I could do anything, I would love to recreate ‘Alien’ and terrify audiences once more with that creature and those settings.” His dream eventually materialized, and in tribute to the game, he integrated the emergency phones often used as save points. As is common with video games, a save point usually signifies that your character is approaching an area where there’s a high likelihood of meeting its demise.
In Álvarez’s words, the idea holds true for “Romulus” as well: “The film is structured so that whenever something ominous is about to occur, you’ll notice a phone.” Since it’s an “Alien” movie, danger lurks at every turn. However, this recurring phone motif serves as a clever nod for gamers to stay alert and prepare themselves for some intense action approaching.
How was Ian Holm brought back for Alien: Romulus?
On the spaceship Renaissance, Rain and her companions find and revive the upper body of science officer Rook, originally portrayed by Ian Holm. As Rook struggles to accomplish his objective – retrieving the black goo for Weyland-Yutani – he offers most of the story details. This character is reminiscent of the android Ash from the original “Alien” film, which fans of the series will recognize. However, Ian Holm passed away in 2020, and many other actors from the “Alien” franchise have also died over the years. Consequently, it’s understandable that viewers might question how he appears as a different synthetic character in “Alien: Romulus.”
In the movie “Romulus,” details about how Ian Holm’s likeness will be portrayed are yet to be revealed, but given the growing discussions online, it might become necessary for the creative team to clarify this sooner or later. On platform X (previously known as Twitter), user @Overmayor expressed, “I hope the AI representation of Ian Holm isn’t true; I want this movie to be good.” However, it should be noted that while it is a digital recreation, it may not strictly qualify as artificial intelligence. Daniel Betts is credited for performing both the facial and vocal expressions of Rook, with Ian Holm’s voice and face serving as a reference.
In a similar fashion, it could be compared to the revival of the character Grand Moff Tarkin in “Rogue One: A Star Wars Story”, using motion capture technology and CGI. While this method might still raise ethical concerns, it’s important to note that it wouldn’t involve true AI, which is ironic given that the “Alien” series often depicts androids as harmful tools of corporations.
The finale of Alien: Romulus follows an Alien tradition
In the finale of “Alien” films, including “Romulus”, there’s a common pattern: The enormous creatures featured are exceptionally elusive and can sneak onto spaceships without crew members noticing initially. For instance, in “Alien”, Sigourney Weaver’s character, Ripley, boards a shuttle as the Nostromo self-destructs, but unbeknownst to her, a Xenomorph is also on board and must be ejected through an airlock. Similarly, in “Aliens”, the group manages to escape on a dropship prior to the main station’s explosion, but they unknowingly bring along the queen, who had hidden herself in the landing gear.
As a devoted fan, I must share my excitement over the clever twist in “Alien: Romulus.” In this thrilling tale, our heroes Rain, Kay, and Andy miraculously escape the space station moments before it collides with the planetary ring. They breathe a sigh of relief, thinking they’ve outmaneuvered their adversaries. However, the story takes an unexpected turn when a new villain slips past their guard in a crafty manner, leaving us on edge.
Prometheus gets some respect
From “Terminator” to “Halloween,” it’s pretty common for certain franchises to simply ignore previous entries that maybe weren’t received all that well. As an entirely separate installment from anything that’s come before, one might naturally assume “Alien: Romulus” would focus more on honoring “Alien” and “Aliens” as opposed to something like “Prometheus,” which had a more mixed reception from critics and audiences. However, “Romulus” dives headfirst into the mythology established in “Prometheus,” even including a nod to something called the “Prometheus file” in the movie.
In “Prometheus”, Rain and her associates discover that Weyland-Yutani intends to exploit the mysterious black substance for their evil corporate objectives. The aim is to modify this ooze in a way that hastens the recovery of employees from illnesses, thereby keeping them on the job for longer periods. This black substance was initially introduced in the opening scene of “Prometheus”, where an Engineer consumes it before falling over a waterfall and apparently sparking life on Earth.
So far, this substance appears to either annihilate anything it touches or transform it into terrifying abominations. Injecting herself with it results in Kay producing such monsters. It’s possible that Rook intends to do just that: sneak a monster aboard an escaping vessel, allowing Weyland-Yutani to then conduct experiments on this creature.
The pulse rifle’s back
It’s quite possible to make a compelling case that “Aliens” serves as an outstanding sci-fi sequel to the original “Alien,” enhancing its central idea by transforming it into an action movie with a Vietnam War analogy backdrop. This transformation not only intensifies the suspense and fear but also introduces multiple Xenomorphs instead of just one. The narrative structure of “Alien: Romulus” shares similarities with “Alien,” as they both primarily take place in a single location. However, it cleverly references the James Cameron-directed sequel in numerous ways.
In close combat, humans aren’t particularly effective against Xenomorphs. As a result, Rain is equipped with an F44A pulse rifle. Tyler also teaches her how to use its lock-on function and arm support for optimal performance. The rifle is similar to the one used by “Colonial Marines,” which brings to mind the team Ripley joins in “Aliens.”
Sure thing, let me rephrase that for you: Although not identical, the firearm used in “Aliens” is technically an M41A pulse rifle. This makes sense given the differences between the two weapons, considering that “Alien: Romulus” takes place in 2142 and “Aliens” occurs in 2179 – a significant time gap where technology would have advanced considerably. As for the firearm in question, it’s designed to remind us of the Marines from the original film.
Andy says a famous line
Besides its thrilling plot, the movie “Aliens” is also renowned for its memorable dialogue, including lines like “Game over, man!” However, perhaps the most iconic one-liner comes from Ripley, who uses a P-5000 powered work loader to rescue Newt (Carrie Henn) from the queen alien, exclaiming, “Back off, you beast!” Interestingly, similar dialogue is used in “Alien: Romulus” when Andy saves Rain from an approaching Xenomorph. This line seems to be a recurring phrase in this universe.
In any sequel of a significant franchise, it’s customary to include callback lines. The movie “Deadpool and Wolverine” utilized this strategy extensively, as Blade (Wesley Snipes) uttered his well-known phrase from the original “Blade” film: “Some fools keep trying to skate uphill on roller blades.” This line is usually applauded by the audience, but it may leave one pondering its relevance within the movie’s plot.
It appears that some viewers found the dialogue overly reminiscent of the original film, as Redditor u/North_Star8764 pointed out in an “Alien: Romulus” thread: “The nostalgic lines were charming at first, but eventually they felt a bit too similar to the source material, making the movie seem like a copycat and fan-made production. The line ‘get away from her, you b****!’ was a bit too on-the-nose.” Perhaps a touch of homage is permissible in such a cool scenario.
Tippett Studio did stop-motion for Alien: Romulus
During the promotion of “Alien: Romulus”, director Fede Álvarez has consistently expressed his preference for incorporating as many practical effects as feasible. In an interview with The Hollywood Reporter, he stated, “I believe what is vital to me is what I consider crucial for the audience, and I feel that a significant portion of the audience who adore these films, particularly, prefer seeing practical effects.” To achieve this goal, they worked closely with Tippett Studio for a particular scene.
Phil Tippett is renowned for his practical effects expertise, with his studio contributing to some of the most prominent film franchises such as “Star Wars” and “Jurassic Park”. For the movie “Alien: Romulus”, the team was called upon to develop an effect involving a lab rat that dies but miraculously regenerates. This scene was brought to life using stop-motion animation, a technique the studio specializes in.
In the movie studio, a rodent may not have been the only special effect, as the team also crafted Xenomorph puppets for the actors to interact with. Cailee Spaeny shared her excitement about this with The News Movement: “Actually performing alongside it was quite terrifying … It’s such an amazing honor, you know, acting against that instead of a green screen or a ball.” Essentially, working with a real Xenomorph on set must have been a heart-pounding, realistic encounter, which likely resulted in a more authentic performance by Spaeny. Although CGI artists are incredibly talented, having a physical Xenomorph around undoubtedly offered a chilling, tactile experience.
Is the offspring an Engineer?
As a gamer immersed in the Alien universe, I can’t help but notice the rich tapestry of references woven into “Alien: Romulus.” It subtly echoes elements from earlier installments, particularly “Alien Resurrection,” with its climactic scene featuring a human-Xenomorph hybrid. Towards the end, Kay delivers a creature that swiftly transforms into a bipedal being, sporting features reminiscent of the Xenomorph but retaining a vaguely humanoid appearance. Upon closer inspection, this mysterious figure seems to bear a striking resemblance to the Engineers from “Prometheus.” Despite our limited knowledge about them, they play a crucial role in the Alien franchise’s lore.
In the concluding scene of “Romulus,” the specific biological process is unclear, but when Kay self-administers the dark substance, it appears to merge with her embryo’s genetic material, significantly speeding up the reproductive process. As a result, she instantly gives birth, and the offspring seems to possess both Xenomorph and human DNA. However, this new being resembles an Engineer rather than showing traits of Kay.
In the movie “Prometheus,” it appears that the Engineer character made a sacrifice to bring life to Earth. Over time, this life evolved into humans, meaning we share some of the Engineers’ genetic makeup. The mysterious black substance found in the film might stimulate this Engineer DNA inside Kay’s womb, leading to a terrifying creature that could give people nightmares.
Alien: Romulus has a familiar music cue
In our previous discussion, we pointed out that “Alien: Romulus” seems to borrow scenes and dialogue from other Alien films. There’s also a recognizable song used in the soundtrack, which might ring a bell. As it turns out, Richard Wagner’s “The Entry of the Gods Into Valhalla,” heard in “Romulus,” is a recurring musical motif dating back to “Alien: Covenant.”
In the movie, the classical music piece serves as a bookend for “Covenant.” Initially, David (Michael Fassbender) plays this song for Peter Weyland (Guy Pearce) at the beginning. Towards the end, David instructs the Covenant spaceship to play the same tune while he conceals Facehugger embryos onboard. Throughout the film, David exhibits a god complex, aspiring to create the ideal organism. This music choice symbolizes David’s belief in his own spiritual advancement, as he transitioned from being just a synthetic creation to one who aims to give birth to the Xenomorphs and assert his dominance as a creator.
In “Alien: Romulus,” the return of the motif “The Entry of the Gods Into Valhalla” is fitting, as the notion of achieving divine status persists. The crew on the space station strive to act as gods by attempting to alter the black compound for healing purposes and preserving Facehuggers in stasis. The recurring theme of overreaching ambition, or hubris, is evident in “Alien: Romulus,” as humans (and synthetics) continue their futile attempts to command these flawless organisms. As additional films are likely on the horizon, viewers may anticipate witnessing characters enduring the repercussions of such actions for a prolonged period.
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2024-08-16 04:31