Alien: Romulus reunites viewers with the most terrifying organism in the known universe, so are you brave enough to make a date with the xenomorph at Cineworld? Directed by horror veteran Fede Alvarez (Evil Dead; Don't Breathe), the movie is set between the events of Ridley Scott's masterpiece Alien (1979) and James Cameron's equally celebrated Aliens (1986).
Priscilla star Cailee Spaeney leads the cast as Rain Carradine, a space colonist who travels to a remote space station with her android surrogate sibling Andy (David Jonsson, star of the terrific Rye Lane). What they and their fellow crew members find there will be catnip to fans of this classic sci-fi horror franchise: body horror, gooey xenomorph terror and all manner of nostalgic biomechanical design.
Don't forget that these deliciously creepy qualities are set to be augmented by special format presentations in IMAX, plus the Cineworld-exclusive formats 4DX, ScreenX and Superscreen. The critics' reviews are in with many saying it's the best in the series since Aliens.
Scroll down to read them and discover why the bone-chilling menace of Alien: Romulus demands the big-screen experience.
It's an immersive and tactile experience
John Nugent, Empire Magazine: 'The journey that follows, though formulaic in places, is an intense, stressful delight, buoyed by gorgeous art direction, atmospheric lighting, sumptuous set design, miniature work, model work, animatronics, and CGI: a cavalcade of exceptional craft in order to mold a tactile, believable world.
'That ensures everything that unfolds is just that much scarier — most acutely in the terrifying epilogue, which introduces a masterpiece of creature design and expands the mythology ever further. It’s not quite a perfect organism — but it’s a damn good one.'
It honours the old while looking ahead to the new
Linda Marric, HeyUGuys: 'Álvarez has masterfully revived the Alien franchise with a film that is both a respectful tribute to its predecessors and a thrilling standalone offering. It expertly blends classic horror elements with fresh perspectives, creating a must-see for fans and newcomers alike. It’s a testament to the enduring power of great horror and a bold statement about the future of the franchise.
'Boasting a visual style that is both familiar and fresh, the film’s meticulous attention to detail evokes the grimy, industrial aesthetic of the original Alien, transporting viewers back to the iconic world of the franchise. This careful craftsmanship creates a tangible atmosphere of dread and isolation, heightening the suspense as the story unfolds.'
Fede Alvarez is the perfect director for the material
Kristy Putchko, Mashable: 'To [Fede Alvarez'] credit — and to producer Ridley Scott's as well — Álvarez's signature stomach-churning violence and deeply dark attitude are perfectly suited to Alien: Romulus. Moreover, his style suits the franchise's haunting message, in which the real villain is not the "perfect organism" that runs amok on remote spacecraft but the inhuman corporation that exploits human suffering for profits.
'It's a capitalism critique that remains as relevant now as it was in 1979, when Scott first took us aboard the Nostromo. Here, Álvarez finds a fitting vessel for his darkest side.'
It restores the terror of the xenomorphs via practical means
Nicholas Barber, BBC: 'Alien: Romulus delivers the goods as a creepy haunted-house-in-space film with some crafty twists, hold-your-breath suspense and popcorn-dropping scares. Relying on practical rather than digital effects, Álvarez makes the xenomorphs as nightmarish as they ever have been.
'He is sensible enough to keep them hidden for most of the running time, skilfully building tension with muffled clangs and glimpsed silhouettes, but whenever the monsters do emerge from the shadows, he makes repulsive use of the icky slime and squelchy, birth-related imagery which have become the series' trademarks.'
David Jonsson steals the show
Kristen Lopez, Kristomania: 'It’s Industry actor David Jonsson who is the beating heart of Alien: Romulus in spite of his character not possessing one. The mild-mannered Andy is a weakling with a stammer, routinely beat up by bullies. It’s interesting if people will see his character as disabled coded, considering his stutter and slow mental processing, written as him being an older, unused model. He says he doesn’t want to be “seen as a child” or a burden to Rain, common phrases spoken by disabled characters.
'His primary objective is to “do what’s best for Rain” and Jonsson being the only Black actor in the cast opens the door to exploring white privilege. Rain loves her brother, but is willing to do whatever necessary to get to Yvaga, even if that means leaving him behind.
'Andy even brings this up once his character undergoes an upgrade, hearkening back to Michael Fassbender’s David character. Andy becomes the primary catalyst for the film’s second act, having both the best moments — holding a Facehugger by the time — and the more existential about what it means to be human and working for the collective vs. the individual.'
It's truly icky – in the best possible way
Robbie Collin, The Telegraph: 'The new Alien film is good news for anyone looking for two hours of terror in the icy depths of space, and potentially disastrous news for your sex life. Not that this venerable sci-fi horror series has ever stinted on the phallic and vulval imagery before: right from the start, the HR Giger drawing that inspired the design of the alien itself resembled a brass rubbing of an angry speculum.
'But this latest instalment is so stuffed with revolting throbbing and oozing, so lousy with wobbling tubes and gooey folds, that I was mentally checking myself into a monastery during the second act.'
Does all that sound like your preferred cup of acid blood? Then click the link below to book your tickets for Alien: Romulus. It hits Cineworld screens on August 16th.
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