From Ridley Scott to James Cameron to David Fincher, the Alien series has long functioned as a revolving door of great directors.
Alien : Romulus, new to theaters this weekend, is the first entry in the 45-year-old sci-fi franchise that aims more for a dopamine hit than an adrenaline rush. It’s basically a greatest hits of the Alien franchise, remixing elements and images from what came before it. The production design closely mirrors that of Ridley Scott ’s original, down to the use of onscreen technology that only looked futuristic in 1979.
It’s sort of remarkable that 20th Century Fox didn’t angle for some exact copy of Alien when they set out to make a sequel. That first film’s power and popularity is inextricable from what Scott brought to it as a confident commercial director with an eye for a striking image and an appreciation for surfaces. Upon every industrial nook and cranny of the Nostromo does he lavish an attention previously applied to automobiles and other products.
Still, plenty of what we would come to think of as Fincher’s signature moves made it into Alien 3. It’s almost a dry run to his second feature, Seven, emphasis definitely not on the dry: We get lots of slicked surfaces, shafts of putrid light, and industrial-grunge textures. There’s also a great crosscutting sequence, the one that depicts the birth of a newly quadrupedal Xenomorph, that hints at the seductive flow of action that characterizes his propulsive procedurals.
Some might argue that the recent prequels fit cleanly into any appreciation of Alien as a showcase for a revolving door of singular filmmakers. Prometheus and Alien: Covenant are as handsome, star-studded, cleanly staged, and littered with digital landscapes as any of Scott’s latter-day work. For better or worse, they are Ridley Scott movies through and through.
Alien Alien: Romulus David Fincher Fede Alvarez James Cameron Jean-Pierre Jeunet Joss Whedon Paul W.S. Anderson Ridley Scott
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