Just when you thought there couldn’t possibly be another installment in the Alien franchise, “20th Century Studios” goes and releases Alien: Romulus. In fact, it was among the only “blockbusters” of Summer 2024 apart from Twisters and Deadpool & Wolverine (and no, Alien: Romulus still couldn’t even manage to topple the latter movie from its number one spot at the box office—such is the power of Marvel). So, in some sense, Earth was “clamoring” for a movie of this nature…being that Hollywood refuses to make anything new when it comes big-budget fare. Though they were at least “adventurous” enough to tap Fede Álvarez (known for another “quiet” movie: Don’t Breathe) as the director and Cailee Spaeny as the lead, Rain Carradine. The “Ellen Ripley replacement,” if you will.
Unlike Sigourney Weaver stepping right into Ripley’s shoes after a bit part in Annie Hall and the lesser known Madman, Spaeny actually had a few films under her belt before taking on such a weighty role—having already done so with the back-to-back release of Sofia Coppola’s Priscilla and Alex Garland’s Civil War. And yes, she’s been in a blockbuster before, even if it was one that landed with a thud: Pacific Rim Uprising. Later, she took a wrong turn with The Craft: Legacy in 2020 before correcting things with How It Ends the following year. In short, Spaeny has run the gamut of roles before Rain in Alien: Romulus. Which takes place two decades after the destruction the USCSS Nostromo that audiences witnessed in 1979’s Alien. The alpha and the omega of Alien movies. Which is, in part, why Álvarez is so committed to paying homage to it—in addition to remaking Ripley through Rain (another “R” name—and one that Ross Geller famously mocked when Rachel Green suggested it for their baby, replying to her with his imitation of a person with such a name: “Hi my name is Rain. I have my own kiln and my dress is made out of wheat”). Of course, everybody knows that no one can (or will) ever hold a candle to what Weaver did for the part of “leading lady” in Alien, and yet, they can try to present a new-fangled “badass” version of her. Only Rain doesn’t quite come across that way, instead exhibiting the sort of vulnerability and reluctance specific to the current generation. A generation that could never convincingly say, as Ripley does in Aliens, “I can handle myself.”
Rain’s intrinsic fear of, well, everything is revealed from the outset, when her ex-boyfriend, Tyler (Archie Renaux), has to vehemently convince her to join him and the “crew” he’s assembled to enter an abandoned ship with cryostasis chambers that will allow them to defect from the godforsaken planet they’re stuck working on in favor of Yvaga—a planet where the sun actually shines (side note: the planet they’re on has plenty of dystopian Blade Runner flair). The crew consists of Tyler’s sister, Kay (Isabel Merced), his cousin, Bjorn (Spike Fearn) and Bjorn’s adopted sister, Navarro (Aileen Wu). Of course, it isn’t that they really need Rain to come along, so much as her adopted brother, Andy (David Jonsson)—who just so happens to be an android old enough to know how to interface with an abandoned spacecraft that’s of “Andy’s generation.” Or close enough for him to understand it.
Still, Tyler does a good job of sweet-talking her into getting some balls by reminding her that Weyland-Yutani is never going to let her leave no matter how much she works, having just fulfilled her contract only to be told that she’s being sent to the mines now (essentially a death warrant), informed she must remain on the planet to work for another “five to six years” before she can again be given the consideration to leave due to a shortage of workers. Thus, as usual, this installment of Alien continues to serve as an undercutting commentary about the callous exploitation of the working class by their oppressive employers. And while Rain might be “Gen Z enough” to lack the same amount of grit as Ripley in the face of adversity, she’s not Gen Z enough to demand a “flexible work schedule” and a “work-life balance” if she’s to be expected to continue working for Weyland-Yutani.
After all, one of Alien: Romulus’ key goals appears to be to maintain as much of the status quo as it can from the previous films, including pronounced “homages” (even to the less beloved Alien Resurrection, Prometheus and Alien: Covenant). Obviously favoring Ridley Scott’s Alien and James Cameron’s Aliens, what with everyone still thrusting so much undue hate upon David Fincher’s Alien 3—even though it yielded one of the most iconic images from the franchise: a xenomorph up close and personal with Ripley, who turns her face away from its dripping, drooling open maw. In fact, that’s the image Álvarez borrows from for his “nod” to Alien 3—even though, in this case, it doesn’t really work because Rain isn’t pregnant with an alien queen and, thus, there’s no way the alien would take its sweet time about appraising her instead of just snapping her up in its jaws.
Elsewhere, some of the exact same lines from previous Alien movies are used as “callbacks” designed to provide “fan service,” though it often feels a bit too heavy-handed. Take, for example, Rook: the same (or a similar) model as Ash (Ian Holm, regenerated from beyond the grave) saying, “I can’t lie to you about your chances, but you have my sympathies.” Or Andy echoing Bishop’s (Lance Henriksen) aphorism, “I prefer the term artificial person myself.”
Indeed, Andy gets far more venomous discrimination for being a “synthetic” than Bishop ever did—mainly from Bjorn, whose prejudice stems from an android not saving his mother from death in the mines, instructed to help twelve other miners instead by its supervisor, sacrificing the lives of two for the greater good of the dozen. It hardly makes Bjorn’s level of contempt justifiable, with the supervisor being the one to place his rage toward, if anyone.
And, speaking of rage, the perfect opportunity for it to arise (though it never quite does) within Rain comes after another cheesy callback to Aliens, when Tyler teaches her how to use a prototype of the M41A Pulse Rifle the same way Corporal Hicks (Michael Biehn) taught Ripley to use an actual M41A Pulse Rifle. The latter reacts with far more titillation and gusto to learning than Rain, who still comes off as an overly cautious, scared little girl about the whole thing. In part, that “little girl” vibe compared to Ripley is likely because Spaeny is twenty-six to Weaver’s thirty-seven (when filming the indelible gun scenes for 1986’s Aliens). Granted, Weaver wasn’t much older than Spaeny in Alien, filming it when she was twenty-nine. Even so, she looks older in her twenties than Spaeny does in hers—in that way that all people who were in their twenties “back then” look older than people do now (chalk it up to “healthier lifestyles.” Though mental health has ostensibly been sacrificed as a trade for physical health…).
What’s more, because of the generational divide between the first two Alien movies and the present Alien: Romulus, it’s inherent that Weaver, a product of the time when the films were made (no matter how far into the future it was intended to be), would come across as, let’s say, more tenacious and less fazed by the proverbial horrors—including the ones specific to a human-killing race of aliens. Her coolness under pressure intermingled with unflinching badassery that also exudes an impenetrable “don’t fuck with me” air is something that no Gen Zer (whether on the “geriatric” side of that age group or not) ever stood a chance at emulating, let alone recreating.
Which is why, ultimately, the hardness of Ripley (even in name alone) can’t be usurped by Rain, a moniker that radiates the kind of hippie-dippy aura the aforementioned Ross Geller was talking about. Some might argue that this is a good thing, that it’s long been time for a heroine with “softness” and delicacy anyway. That women don’t always need to imitate the roughness of men in order for their strength to be taken seriously. Sure, that might be true—but it’s not true for an Alien movie.
Genna Rivieccio
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