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<\/a><\/div>\nThe gonzo gore-fest of Romulus<\/i> has some good scares. It\u2019s made the most out of by a fantastic performance by fresh-faced Cailee Spaeny, who\u2019s had a fantastic career since emerging from Vox Lux<\/i>, going into Priscilla<\/i> and Civil War<\/i>. She\u2019s paired against the equally talented David Johnson, constantly uneasy as Rain\u2019s \u201cbrother\u201d, Andy, an android who makes constant dad jokes. The stilted, awkward humour and pairing of Andy and Rain is Romulus<\/i>\u2019 beating heart and its biggest emotional strength \u2013 if the film had developed the supporting cast a bit more around them other than making them largely one note; save perhaps for Isabel Merced\u2019s poor, poor Kay, there might have been something more to write home about in this department but the film doesn\u2019t have enough interest in making you care about them. By casting such a young group Romulus<\/i> could become YA fodder easily but it avoids falling into that category \u2013 the bleak backstories give them sympathetic edge and it\u2019s the despair that separates it from others of its would-be ilk. It adds a sense of desperation and desire for the kids and their no-hope strategy \u2013 just like Prometheus<\/i>, the question is asked why these people would dare to venture onto an abandoned space station and a certain death trap, but Romulus<\/i> handles it with tact, displaying cool and consistently awesome visuals throughout. It\u2019s a world where workers are considered dispensable by the Weyland-Yutani corporation \u2013 and the corporations have complete control. As an end-point for capitalism, it\u2019s a terrifying prospect as the aliens themselves \u2013 and the xenomporh is terrifying here, faithfully recreated with minimal usage of CGI and a reliance on practical effects, and expertly crafted set-design that really make the spaceships feel properly real. I\u2019m pretty sure there was even a London underground station being used as a stairwell, much like Rogue One<\/i>.\n<\/p>\n
Which in turn, makes it so baffling that the film committed digital necromancy to bring back Ian Holm\u2019s robot. Even with the approval of the family and Holms\u2019 widow, it feels tacky, disrespectful and lazy when a like-for-like casting could have been used, or indeed, another Andy would\u2019ve probably been more thematically relevant and interesting for the themes of Romulus<\/i>. The significant chunk that Holms\u2019 AI has for Alien: Romulus<\/i> feels as single-moment ruining the entire film as Late Night with the Devil<\/i>, and instantly sours any goodwill. It\u2019s a shame as the ingredients are there elsewhere \u2013 but for a film bogged down in paying respect to the Alien franchise it falls so far wide of the mark it\u2019s hard to view it as a fanservice project at all \u2013 instead, as soulless and as hollow as Wyland-Yutani themselves. The best thing to come out of this has been the collective rediscussion of the franchise – but as a day one Prometheus<\/i> truther you were all over a decade too late. <\/p>\n<\/div>\n
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