Saw this last night. Always been a big fan of the original films - Alien, Aliens, and Prometheus.
Romulus was close, but no cigar. You can tell that Fede loves the original films as much as anyone, and that he is a talented filmmaker. But he is interested in the spectacle, not the story. What we got was more of a cutscene than cinema. I wanted to love it, but came away only liking it.
Here is what it needed:
1 Give Us Characters We Give A Shit About
The original Alien gave us unforgettable characters. Without Googling I can name them off. Dallas. Ash. Kane. Parker. Ripley. Jonesy. Lambert. Brett.
We remember them because the original Alien lingered slowly on the characters so much that we knew and liked them. Even before there was any threat, we saw these working joes and empathisized with them stuck in their shitty jobs because we are equally stuck in ours. We could have watched two hours of them bitching about the shares in their contracts, hating on one another, and complaining about the food.
So when the alien shows up, we are scared and horrified for the people we know, the break from the routine. The chest burster scene isn't amazing because some puppeteer put his hand under John Hurt's shirt, but because we lost a friend in a horrifying way. (This is something Alien has in common with The Thing, another classic)
Ditto Aliens. We're not all soldiers, but getting to know Hicks, Hudson, Vasquez, and Apone made us admire them and mourn when they get picked off. Except Burke, because fuck Burke.
Prometheus is where the series (I hate the marketing word franchaise) started giving us unloveable characters. We kind of like Shaw's pluckiness and are creeped out by David, we admire Captain and distrust Vickers. We may even remember Millburn and Fifield as the two idiots who get themselves killed petting dicksnakes.
But we don't really bond with the characters anymore. They're not working joes, they're meddlers in the unknown on a corporate mission that makes little sense.
Romulus gives us flat, one dimensional characters without much of a reason to like them, or care that they're in danger. I remember Rain is the last girl, Andy is the robot. Other than that is British prick guy, the ex boyfriend, bald Asian pilot, and pregnant girl. They aren't characters, they are types, and thus hard to bond with.
How could Fede have fixed this?
Cut out that silly, unnecessary scene of Weyland-Yutani staff finding the original alien. We learn about it later when the characters meet the science officer Rook anyway. Also, it is intended to make us hate the company, which we do already, and seeing the planet the characters are on gives us a taste of that.
Instead, give us 20 minutes hanging out with the kids. Let us see Rain's dad, how nice he was, then get the news he's been killed in the mines. Ditto British guy's mom. Add a few kids, give them all personalities and tragic backstories. Show us, don't just tell us.
That would have made us care when they start getting killed.
2 Let The World & Drama Unfold At Its Own Pace
Just as we are not given the time to know the characters, we are rushed through a Disneyworld like tour of the corporate space that is the real horror of Alien(s). It feels like Alvarez has a checklist of Shitty Dystopia tropes he is ticking off fast as he can so he can 'get to the good stuff.'
Unsafe work conditions? CHECK
Broken corporate promises? CHECK
Union agitators? CHECK
Senseless street crime? CHECK
But the universe of Weyland-Yutani IS the good stuff. We want to savour it, to see how different yet similar it is to our own. The Alien RPG knows this and spends pages of text and gives beautiful art to ground us in this.
Instead, show us how these kids are getting by in the corporate hellscape, how they have the life and tech hacking skills from navigating Elon Musk Space Prison to make us believe they have a chance of pulling off the caper. And this film is a caper movie, but doesn't seem to know that itself.
The Asian chick is a pilot? Good, make her from a family of pilots, slightly higher in the food chain than her mine worker friends.
The Brit has a big lighter and likes to trash talk? Make him the son of a tough UK security guy devastated and drug addicted by his wife's death.
The boyfriend knows how to use guns from video games? Give us a shot of him in a VR headset destroying space beasts and customizing his guns.
So much could have been done.
And here is a related issue. In Alien we believe these are space truckers because time is spent showing their drudgery. We believe we are watching colonial marines in Aliens because we see them doing chin ups and shit talking one another. Once again, Prometheus gives us a weird science expedition briefing, but it is enough that we believe these people are on a mission.
Romulus gives us no one that seems real. Take the lady who denies Rain's request to leave the planet. She is just a grumpy office worker. Take a page from Neil Blompkamp, who would have made a stellar Alien film if allowed. In Elysium Matt Damon's character has to talk to a remorseless robot parole officer. THIS would have been excellent with Rain.
3 More New Stuff, Less Overt Old Stuff
Let's give Fede his due - he introduced some good new stuff. The final Alien? Stuff of nightmares. Hiding your heat signature from facehuggers? Meh, kind of like no teeth fillings as a tell from The Thing prequel. Using the black goo to go transhuman? Interesting if underdeveloped. But at least he is thinking and trying.
But at any rate, Fede has shown he can spice things up, and has the tech and knowhow to make a good action film.
As for his callbacks and easter eggs...
Listen, I appreciate the readout mirrored on a helmet. But someone should go through the film to count how many drinking birds are in it. We get it, its an Alien film, you don't need to signal every ten seconds. Easter eggs are less interesting than sly callbacks. The "Get away from her you bitch" line was cringecool, but would have been just cool if it hadn't been telegraphed so much.
Conclusion
B or B -, could have been an A or the coveted S had we gotten to know, like, and fear for the characters.