Recently Cailee Spaeny played the wife of one of the most famous musicians on the planet as the title character in “Priscilla.” In her new film, “Alien: Romulus,” a standalone “interquel” set between the events of “Alien” and “Aliens,” she trades her ex-husband Elvis’s Graceland for another weird, otherworldly place—outer space.
In the new film, the seventh installment in the “Alien” franchise, Spaeny plays Rain Carradine, a new style Ellen Ripley, and one of a group of space scavengers fleeing their home planet, a dystopian hellhole run by a company whose ironic slogan reads, “Building a Better World.”
“The company is not going to give us anything,” says Bjorn (Spike Fearn), “we have to take it.”
To avoid working in the company’s mines, a small group, including Rain, her model ND-255 synthetic “brother” Andy (“Industry’s” David Jonsson), her ex-boyfriend Tyler (Archie Renaux), mine workers Bjorn and Kay (Isabela Merced) along with pilot Navarro (Aileen Wu), set off to rummage parts from a decommissioned space station. But instead of space pods and spare parts, they discover the universe’s most horrifying life form, the Xenomorph.
A horror film set in space, “Alien: Romulus” is a back-to-basics movie that owes a debt to the first two films in the franchise. The first part is all atmospherics and world building, reminiscent of the creeping dread that defined the original film. From the forty-five minute mark—the first Facehugger sighting—director Fede Álvarez amps up the action and the stakes, dispensing the fast-paced intensity of James Cameron’s “Aliens.”
The result is a movie that finds a way to use our nostalgia for the original films as a springboard for some new ideas. Álvarez, along with co-writer Rodo Sayagues, steers the story to a wild final act that stays true to the franchise, but combines sci fi and body horror in an unforgettable, spine-chilling fashion.
Seven movies in (plus two “Alien vs. Predator” crossover flicks) nothing will ever beat the original chest-bursting scene for sheer shock and awe, but “Alien: Roimulus’s” aggressive Facehuggers and Xenomorph are still potent horror images.
They’re iconic in their hideousness, drip acidic blood, and, if that wasn’t enough, force their proboscis down throats to impregnate their victims. Álvarez uses them to unnerving effect, mixing the creatures with a zombie synthetic character, some House of Horrors visuals and enough graphic, gory and grim practical effects to provide a pedal to the metal thrill ride.
“Alien: Romulus” doesn’t have the thematic depth of some of the other films in the series, but it delivers a crowd-pleasing and exciting link between the first and second movies on the “Alien” franchise timeline.
I’ll be reviewing four movies this week, everything from aliens and penguins to a coming-of-age story and a family drama. All reviews posted on Thursday, August 15!
Set between the events of “Alien” and “Aliens,” “Alien: Romulus,” a new sci fi flick now playing in theatres, sees a group of young space colonizers scavenging a derelict space station, only to discover the most terrifying life form in the universe.
In “My Penguin Friend,” a new family film starring Jean Reno and a penguin, and now playing in theatres, a Brazilian fisherman discovers an injured penguin drifting alone in the ocean, near death and covered in oil from a spill. He rescues the animal and rehabilitates it, forging an unconventional lifelong friendship.
In “Good One,” a new drama now playing in theatres, a father, his daughter and his best friend take a weekend backpacking trip in the Catskills. When tensions arise between the old friends, the daughter is caught in the middle, wedged between the clash of egos between her father and his oldest friend.
In “Close to You,” a new family drama now playing in theatres, Academy Award Nominee Elliot Page stars as a trans man who returns to his hometown for the first time in years.
Lisbeth Salander is back. The lead character in the Millennium film and novel series, she’s the leather-clad computer hacker with a large tattoo of a dragon on her back, an eidetic memory, and, if you are a movie fan, an ever switching identity. The look—dyed black hair, body piercings—hasn’t changed but the actresses playing her have.
Noomi Rapace became famous playing her in the Swedish franchise and Rooney Mara was nominated for the Academy Award for Best Actress as Salander in 2011’s “The Girl with the Dragon Tattoo.” Now another face takes on the role. In “The Girl In The Spider’s Web” Clair Foy trades the tiaras and trinkets of “The Crown” for cyber criminals and car chases.
Since we’ve seen her last Salander has been exacting a very specific kind of revenge. Using her hacking skills and some other, more physical life hacks, she, as a self-styled righter-of-wrongs, evens the score between cheating husbands and their wives.
Her life is thrown into chaos when she gets a call from her handler. “There is a client asking for the impossible. Interested?” Of course she is. It’s ex-NSA employee Frans Balder (Stephen Merchant) who created a power program called Firefall. It can’t be reproduced, only be moved. Balder has lost control of it and wants it back. In the wrong hands a single user on the single computer could “be imbued with Godlike powers.”
She agrees and easily steals the program but when she misses the drop off Balder thinks she’s going rogue and alerts law enforcement. Her involvement also attracts the attention of The Spiders, a terror group who want the program and want her out of the picture. With an NSA agent Edwin Needham (Lakeith Stanfield) and journalist—and former Salander love interest—Mikael Blomkvist (Sverrir Gudnason) on the case things get complicated, especially when it turns out the big bad villain may have a direct link to Salander’s troubled past.
“The Girl In The Spider’s Web” is a thriller set to a slow simmer. The action comes in bursts, a car chase or an exploding building, followed by lots of atmosphere and shots of Salander’s brooding face. The Millennium film franchise are dark thrillers with overtones of murder, pedophilia, incest and even self surgery and while all those elements are on display here the tone of the film feels different than the previous films.
Set in Sweden, with all the trappings of an icy Nordic noir, the new film feels more American in its style. Salander is a little too much like James Bond and not enough like Elizabeth Salander. Foy is up to the task but the character, once edgy and daring, has become a Ducati-straddling superhero. In addition to being a world-class hacker she’s also a skilled hand-to-hand combat artist with a web of icy blonde girlfriends to do her bidding and a way with a Taser. But sometimes she’s a little too capable. An escape on a bridge works simply because it has too. Not because it makes sense. Her operations are timed with split second precision. There’s no real sense of danger, just boilerplate thrills. Things blow up real good but by the tenth time Salander has too easily and conveniently tamed an out-of-control situation you wonder why she’s wearing black leather and not spandex and a cape.
And don’t get me started on Blomkvist. Once a layered interesting character, he’s there simply because he’s always been there.
“The Girl In The Spider’s Web” is a serviceable action thriller with enough action to entertain the eye but too many twists and turns coupled with drab characters it feels generic when it should make your heart race.
Half lit hallways and gloomy basements are standard backdrops for spooky stories. “Don’t Breathe” makes good use of them, playing on our primal fear of the dark in a topsy turvy home invasion story that sees the invaders terrorized by the man who was meant to be their victim.
Set in Detroit, the movie follows Alex (Dylan Minnette), Rocky (Jane Levy) and Money (Daniel Zovatto) as they hatch a plan to rob the house of a blind military vet (Stephen Lang). “I got our ticket outta here,” says Money. “Rumour is, this guy is sitting on at least three hundred K.” Their goal is to grab the stack of cash The Blind Man won in a wrongful death settlement when his only child was killed and hightail it to California to start new lives. Despite Alex’s reservations—“It’s pretty messed up to rob a blind guy, isnt’ it?”—the trio go to the man’s house on an abandoned block of the city’s downtown, drug the guard dog and search for the money. Their easy score proves elusive when their victim turns the table, and hunts them in the dark.
“Don’t Breathe” presents a conundrum. Who do you root for the bad people who broke into the house or the bad man who lives in the house? Either way, one thing is clear, you don’t need to be afraid of the dark, you need to be afraid of what’s in the dark. “Evil Dead” rebooter Fede Alvarez combines the primal scares that come along with claustrophobic, dark spaces with a weird anxiety inducing soundtrack a slow building sense a=of dread and some of the best bug-eyed acting I’ve seen in a horror film in some time to create a down-‘n-dirty horror flick.
From Lang sniffing, as though tracking his prey through scent to Levy’s large expressive eyes to the prerequisite gore—although the film gets more violent than clever near the end—“Don’t Breathe” is suspenseful and unpredictable, just like whatever is out there hiding in the dark.
