My lord is it hot in Texas. I think its quaint that people used to live in this state without a hint of air conditioning, in full jeans, boots, shirts, frocks, bonnets, hats, and anything else you think they might wear on the range. And then some time passed, people were tired of boiling, and the modern movie theater offered a respite from the terrible burden of the hot August sun. You can sit down and blast off to colder climates, like the north pole, the moon, or the dark reaches of space. You may not know this but many of the Christmas or winter classics we adore today came out in the summer. But today, we are in the cold reaches of space in the grip of an all too familiar monster. I went to today’s showing of Alien: Romulus with almost no excitement. Almost. This franchise has burned us all too many times ever since James Cameron put down the camera at the end of the unnecessary and beloved sequel to what could be one of the best films of the 20th century. Alien and Aliens have an undeniable gravity and we are stuck in their orbit. Like the fictional Weyland-Yutani corporation, studios greenlight return trips to these worlds. They know we still can’t turn down the journey, and they can’t leave the chance to profit off visiting these creatures over and over again. But a body with gravity is hard to fell and no film in the franchise has been able to truly kill the beast. Alien: Romulus instead chooses to worship at the feet of the masters in hopes of gaining ground, despite the treacherous nature of standing upon giants.

There are no spoilers in space. You will see them coming like the story of Star Wars, marked as it flies through space. A quick synopsis: Romulus takes place 20 years after Ripley defeats the original terror in Alien. Miners working for the Weyland-Yutani corporation toil in a mine on the far side of a planet that never sees the sun. Rain (Caliee Spaeny) and Andy (David Jonsson) are two orphans whose parents died of cancer breathing in the fumes in the mine. After finishing her required hours of her contract on the planet, she decides to put in for a transfer to a planet with a sunrise. The corporation decides to double all miners required contract time due to the continued loss of people due to cancer. With nothing left to lose and goaded by other orphaned children, they choose to try and rob an unmanned spaceship that happened to drift into the mine planet’s orbit before anyone at the company realizes. The prize? A series of cryopods needed for the 9 year flight to the closest planet outside of the corporation’s grasp. But will the cost be worth the price?

In a series that spans hundreds of years, it was quite the surprise that we would land within 20 years of the origin of the franchise. Certainly a bold choice. At this point, it’s probably in your best interest to know the timeline. From the earliest in the series timeline to the latest (series year /release year / director):

• Prometheus (2093 / 2012 / Ridley Scott)
• Alien Covenant (2104 / 2017 / Ridley Scott)
• Alien (2122 / 1979 / Ridley Scott)
• Alien Romulus (2142 / 2024 / Fede Alvarez)
• Aliens (2179 / 1986 / James Cameron)
• Alien 3 (2179 / 1992 / David Fincher)
• Alien Resurrection (2381 / 1997 / Jean-Paul Jeunet)

Bold choices, bold rewards. The greatest thing about Alvarez’ turn at the helm is that before anything happens, before the title card runs, we see the wreckage of the Nostromo, as if it were a promise of things to come. Just a day before seeing this film, I asked why the newer films, Prometheus and Covenant, abandoned the now low-tech futurism of the original film? The small tube screens, grainy communications, big mechanical keyboards, switchboards, heavy levers, and basically anything the early 80’s would have used to communicate science fiction future. Ridley Scott himself already perfected the tactile feel of working in space with his origin story, Alien. More than likely, it was simply a stylistic choice of the time. The human future looks different now. Our corridors are stark white, our screens flat, our interfaces button-free. But so much of the grit left the screen when our spacefarers traded buttons that click with finger swipes and hand motions. Romulus returns to form and brings that tactile nature back to the screen, and with it, a real sense that people live and work there. The world is lived in, not designed.

Our characters and their story leave little for our actors to chew on with one standout in David Johnson as Andy. What starts as a one note character doesn’t really grow per say, but like the xenomorph, he grows in you. Out of everyone, he is the one I want to see more work from. Sometimes its not the song, but the pitch perfect note that you remember. As for the film’s story, without giving anything away, the forward momentum of the film builds in such a way that the rest of the actors never really get to shine the way the actors did in Alien and Aliens. Sigorney Weaver battles with a lack of control and only succeeds when she takes it. And we get to see her realize this as the people in power fall away. In Romulus, we have a different set of circumstances that you could imagine excuses this absence of growth. With an average age that feels far below any of the other films, Romulus creates an atmosphere of inexperience across the characters, which would be fine, but it doesn’t appear to be of any consequence to the story being told in the film. For instance, there is no other thematic purpose to the characters being orphans other than to chide the churn of human labor in capitalistic imperial enterprises like Weyland-Yutani. As far as I can tell, almost any thematic or metaphorical point born of Romulus is shallow. Worse than that, this single layer is reminiscent of another space franchise and certainly a cause for pause. I couldn’t help but feel a disturbance in the fabric of cinema, a feeling I have not felt since the release of Star Wars: The Force Awakens. But hold your groan folks, unlike the The Force Awakens, Romulus conceals itself better than most. Almost as if it was the Dark Side of The Force.

Under its dark shroud is an entertaining rebuild of both Alien and Aliens. The first half of the film is a homage to Ridley Scott, the back half to James Cameron. Alvarez uses his runtime to create something more unique than anything thought of in J.J. Abrhams turn with Star Wars. But like Abrhams turn, it’s a reconfiguration of the base model. It takes what we already are familiar with and constructs a version with a modern twist. Like the VW Bug of the 60’s and its 2000’s counterpart. There was no new lesson to learn, nothing to expand upon, just beautiful carnage and delicious retro sci-fi ships with interiors to match. The problem is that if this film is successful, will it spawn a spiritual Star Wars sequel? The Last Sith? Probably not, but in so much as this film has no original ideas, it does create a new branch to follow during its runtime.  As much as the characters lack in richness, the inspection of the callous nature of Weyland-Yutani as an entity is much more clear in this film than any other. Specifically because we see both their heavy handed nature and the method of their control over the daily lives of people in their employ. Before this film, the company seemed to loom in the background, like the parent company of a conglomerate full of child companies who have never met their owner, bought from a financial broker before they learned to run. You can almost hear the takeover speech from the c-suite, “We have been bought, but nothing changes”.

I enjoyed my relief from the Texas sun, sitting aglow in another tale of how the universe is ultimately indifferent to humanity. Put another way, how lucky we are to be alive. Put one more way, how unlucky we are to recognize any of this at all. The dichotomy of being able to look into the abyss only to see it stare back at you is palpable in the Alien pantheon. Alien: Romulus is no different. Where the other films struck out striking out for something new, this film plays it close to home for better or worse. It is immensely entertaining and immediately engrossing, a heavy familiar coat. And while it leaves me with confidence in everyone who made it, I don’t have much confidence in its addition to the legacy that is Alien. This series has more swings for the fences than any other like it, and because of that, even its failures are notable and re-watchable. I re-watch films to see something new I didn’t see the last time, but I feel like that will be exhausted in the next couple of viewings, where films like Prometheus and Covenant will have me re-examining why they failed for years to come. What could they have done differently? Why did they make one choice over another? All of this is clear in Romulus from the first viewing. Because it looked damn good. Because they already know it will make for a good time at the theater. And you while you can blame them for not taking too many chances, you can’t say it wasn’t a good time.