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Surgeons of Horror

~ Dissecting horror films

Surgeons of Horror

Tag Archives: fede alvarez

Movie Review: Alien: Romulus

23 Friday Aug 2024

Posted by surgeons of horror in Movie review

≈ 1 Comment

Tags

aileen wu, Alien, Alien franchise, alien horror, alien romulus, archie renaux, cailee spaeny, david jonsson, fede alvarez, isabela merced, ridley scott, spike fearn, xenomorph

Prequel, sequels, threequels, and whatnumberisthisoneagain-quels… has there been a more wildly heartbreaking body of work than the Alien franchise?

From 2 absolute master class films, to a litany of dross to follow, we come to it again and again hoping this next instalment – whatever it may be timeline wise – will be different. And no amount of pre-hype or pedigree (can you say David Fincher boys & girls?) seems to make a scrap of difference.  They either range from “it was ok” to “what the fuck was that?”

So when yet another one is announced and the trailer hits the socials – we hold our collective breaths and say “well… it looks slick. But so did Prometheus…”. And then we see the name of the director and we dare to do the one thing years of alien vs predator movies told us not to.  Hope.

Fede Álvarez is the helmsman of The Girl in the Spiders Web, Don’t Breathe and the Evil Dead remake.  All decent outings with Don’t Breathe a very notable one.

And with his name on the credits for this Xenomorph outing, will he do the impossible and create the spiritual 3rd film (ALL THE OTHERS DON’T COUNT) that the Alien trilogy cries out for?

Can this auteur from Uruguay carve out a name worthy of being mentioned in the same breath as Cameron and Scott?

Let’s dig in, shall we?

Firstly, there is not a Romulan to be seen, so that’s a letdown straight away…

Secondly, this venture takes place some 20 years after the end of Alien, so Ripley is still floating around out there asleep with her cat in a capsule, and that’s interesting to think about.

Because one of the more annoying aspects of this franchise is that post Aliens, all the instalments (crossovers included) bar Three & Resurrection are PREQUELS.  Which means they continually have to retcon (in some way or another) humanities “first” interaction with the Xenomorph.

In fact, it’s gotten to the point that when Ripley & crew first encounter the Alien onboard the Nostromo, they’re basically the only humans who HAVEN’T met it yet!

But I digress.  Set up wise this film takes place on a mining moon, laced in the gritty low light aesthetic that is a moniker for all these movies now.  Life for the workers there is basically indentured, so ways to get off-planet are few and far between.

Thus when an opportunity presents itself in the shape of a seemingly abandoned orbiting spacecraft that for some reason NO ONE on the surface of this world can see other than a bunch of space Gen Z-ers, who happen to have a working spaceship (that belonged to their now dead parents, because the mines are filled with space asbestos, apparently) they see a way out of their bondage.  Because their ship has everything a group of kids need to travel to another world EXCEPT Cryosleep capsules.  Something this mystery spaceship above must surely have…

And thus we have our blueprint to get the ball rolling.  1 – Set a cast, 2 – throw them into a contained location, and then 3 – sprinkle them with Facehuggers. 

4 – rinse.

The how and the why there are Facehuggers on this mystery ship is a fine enough idea…but for the purposes of exploring more abstract and interesting observations, we shall leave that for you to discover on your own time.  For now, I will list off the immediate thoughts that struck me whilst watching this movie.

One – all the other Alien filmmakers have tipped their hat to Ridley’s and Cameron’s outings, naturally, but we are now entering an era of films from storytellers who were children when those first 2 flicks came out, and Álvarez is clearly printing out a love letter to them both with Romulus.  It is littered with numerous nods, ranging from set design, to television computer screens, 70’s 8-bit GFX, sound FX, Pink Floyd lighting, and of course, a perpetual motion beak dipping bird.

And that’s just the tip of the “let’s-see-what-else-we-can-jam-in-there-iceberg”.  

Two – it suffers – as you would expect – from the “Zombie Conundrum”.  Ie: We, the audience, know what the peril is and how it works.  The characters in the movie do not.  So we wait patiently whilst they play catch up, which means the film burns through valuable attention grabbing time.  There are of course creative ways around this – the best one is to show something new about the Alien’s “process”, but with so many films under the bridge, this is very difficult without completely retconning its history.  And that violates our list of what makes a great sequel (see below).

Three – The Sequel Checklist.  Does this hit it?  For fans of our reviews, The SOH Sequel checklist (AKA: Things you need to make a great sequel) looks like this…

  • Does it respect the first film and not shit on it?
  • Does it “fail” to be carbon copy of the first film?
  • Does it add/expand on the legend/universe started by the first film?
  • Does it still stay within the SAME SPIRIT established by the first film?
  • Does it stand on its own 2 feet as a standalone film?

To which answer wise, I give it three yeses’, one kinda (but not really) and a sorta.

The Prognosis:

As to what answer goes with what point, I’ll leave that up to you to see & agree.  For Romulus is definitely worth checking out, but ultimately as a story it could have taken a few coins out it’s “homage” budget and drop them into its “make em care & they’ll scare” budget.

For the film only has 2 memorable leads (the actual leads) who are played by Cailee Spaeny and David Jonsson.  A brother and sister duo with a twist.  Or it would have been had the trailer not given it away.  So that means with the rest of the cast, you’re kinda just waiting for them to get ganked.  Or not.  But you’re not holding your breath too hard when they do.  Or don’t.

They have one cool action set piece that is original.  Although several scientist friends of mine have already lamented its floating inaccuracy.  And for all its tributes towards the first 2 films (the only 2 worth tributing) it does dips into a controversial idea first explored in Alien Resurrection, and to its credit, actually pulls it off.  At least visually.

Overall, its not the spiritual threequel I’m still looking for (and I accept, may never find) but I will definitely be keen to see Alien Klingon Homeworld when it comes out. (See what I did there nerds?)

  • Antony Yee

Movie review: Texas Chainsaw Massacre

18 Friday Feb 2022

Posted by surgeons of horror in Movie review

≈ 2 Comments

Tags

alice krige, david blue garcia, elsie fisher, fede alvarez, ian henkel, jacob latimore, jesica allain, kim henkel, Leatherface, legendary pictures, mark burnham, moe dunford, nell hudson, netflix, olwen fouere, pat cassidy, sarah yarkin, Texas Chainsaw Massacre

The problem with the Texas Chainsaw Massacre franchise is… Leatherface.

What? I hear you bellow and cry? Texas Chainsaw Massacre is Leatherface and that is precisely my point. Having Leatherface as the poster icon for these slasher, body torture flicks has dampened the menace that the original 1974 Tobe Hooper feature had. The torment doesn’t lie with just his heightened and physical presence but with his entire f@#$ed up family.

Family or some sense of family has been key amongst this franchise and to unsettle this dynamic leads to ruin for any who encounter it. This is evident in Hooper’s sequel, albeit through a dark comedy gaze. It’s following sequels tried to replicate this energy but somehow missed the mark and since then the franchise has had more jump starts than a shitbox car with a malfunctioning alternator.

Leatherface is iconic for a reason but without his family support network around (as dysfunctional as they all are) he will either do one of two things, become a hermit, isolated in his own filth and depravation, or become a loose cannon, destroying everything in his path. This latest feature aims for the latter and for good reason as it has become such a winning formula for David Gordon Green’s Halloween franchise revival.

There was some promise in this latest release with Directing Auteur Fede Alvarez behind the resurrection, serving as producer, and teaming up with the original writers Pat Cassidy, Ian and Kim Henkel only added to the integrity.

Legendary Pictures who had secured the rights to the franchise were putting their trust in relative newcomer David Blue Garcia with his sophomore outing in the directors chair for a feature length movie.

The focus for the film would have Leatherface holed up in a house for troubled youths, only now the only occupant along with a mother-like figure who ran what was the facility, played by the fantastic Alice Krige. The rest of the place has become a ghost town filled with dilapidated buildings and the vision of a group of influencers hoping to transform this Texas town into a bustling business venture. Cue potential victims for Leatherface to rip through as these gentrifiers get more than they bargained for.

The issue is that there’s a half-baked idea going on here, and it rests too highly on the success and brutality of Halloween (2018) to fuel Leatherface’s rage, thrusting him solely in the centre of the carnage. When the movie does go for barbarity, it often hits the right notes of repulsion but too often it falls foul of old horror tropes, having it’s leads either hiding in the closet and  under the bed or trying to kick ass against the monster.

TCM even tries to replicate the harshness that trauma has on our heroines, that featured so heavily in Halloween by having one of the leads, Lila (Elsie Fisher) a survivor of a school killing massacre. This is brought in double fold by bringing back Sally Hardesty, this time played by Olwen Fouere, to tap into the whole hardened survivor ala Jamie Lee Curtis as Laurie Strode.

Another example however that the filmmakers are content in playing familiar notes and resting on the laurels that the Texas Chainsaw Massacre name and that of its emblematic figure Leatherface brings.

The prognosis:

This latest version is aimed at a new generation of audience.

Too often though, it falls prey to the usual horror tropes and offers nothing new.

Leatherface does go full on with the kill count though going Michael Myers with some brutal deaths, especially with the bus scene which was highly satisfying.

It also had some moments of humour that didn’t necessarily hit the mark.

For veteran horror fans hoping to see some descent bloodshed will feel satiated, but ultimately let down by the lack in depth to the fold as the film struggles to add any flesh to it’s now frail bones.

The rust has truly taken hold in this franchise and it might be too hard to get that chainsaw whirring to satisfaction again without some bold new approach.

– Saul Muerte

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