What Horror Legacy Sequels Can Learn from Alien: Romulus

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What Horror Legacy Sequels Can Learn from Alien: Romulus

Highlights

  • “Alien: Romulus brings back the horror legacy sequels trend with practical effects for a refreshing return to the franchise’s roots.”
  • “Director Fede Alvarez creates a hybrid of Alien and Aliens tones for Romulus, mixing claustrophobic terror with awe-inspiring scope.”
  • “The use of practical effects in Romulus pays homage to the iconic designs of Giger and Winston, setting new standards for horror sci-fi cinema.”

As a film enthusiast who’s spent countless hours immersed in the intricate worlds of cinema, I find myself deeply appreciative of the masterful blend of practical and digital effects in Alien: Romulus. Having grown up watching the original Aliens, the practical effects done by Stan Winston Studios were nothing short of awe-inspiring, creating a sense of reality that still resonates today. The showdown between Ellen Ripley and the Queen Alien is a testament to this franchise’s ability to push boundaries and set new standards for horror sci-fi cinema.

Last week, Alien: Romulus opened in theaters across the country. Romulus is the latest in the recent trend of horror legacy sequels (Scream, Halloween, The Omen, etc). This prequel is the newest installment in the granddaddy of all modern sci-fi horror, Alien. The movie is a refreshingly disgusting return to the franchise’s storied tradition of cramming gobs of steaming goop, rivers of blood, and concentrated tons of human tension and paranoia, into the sweaty, claustrophobic confines of a spaceship, all to horrify and amaze its die hard fan base.

Fifty years after Ridley Scott’s groundbreaking film “Alien,” which spawned six sequels/prequels (excluding the two AVP movies), and decades of filmmakers utilizing advanced technology to innovate cinematic sci-fi horror, the movie “Romulus” underscores the enduring power of traditional, on-set special effects. The director of “Romulus,” Fede Alvarez, who has made films like “Don’t Breathe” and “Evil Dead,” is recognized for his gripping and intense horror filmmaking style, and he consistently delivers sequels that respect the original while bringing a fresh perspective to the source material.

Based on the initial trailer for Alien: Romulus, it’s apparent that Alvarez is reviving the core essence of the franchise. The film appears to be a blend of Alvarez’s unique interpretation, merging the atmospheres and visual styles of both Alien and Aliens. This fusion skillfully balances the suffocating fear from the original with the grandeur of the sequel. The central location, an abandonded Weyland Yutani space station called Romulus and Remus, named after the Roman mythology, provides an excellent backdrop for Alvarez to showcase his signature blend of gruesome practical effects and relentless tension, a style he honed while working on films like Don’t Breathe and Evil Dead. Romulus cleverly employs classic Alien symbolism primarily through the use of practical effects: a character endures a painfully slow death by acid drip from a wall-mounted, gestating Xenomorph pod, while mechanical facehuggers swiftly scuttle and leap across the ship’s hull with terrifying speed. The entire film exudes a gritty yet futuristic design, making every setting – from the incredibly realistic mining colony of Jackson Star to the intricately detailed interior of Romulus and Remus – feel tangible, albeit something you might not want to touch.

The distinctive appearance of the Xenomorph, featuring H.R. Giger’s jet-black biomechanical design brought to life by Carlo Rambaldi, was first introduced in the 1979 film Alien. The work of Giger and Rambaldi on creatures like the facehuggers and Xenomorph was revolutionary. Although these alien beings appeared strange and otherworldly in their design, they were also strikingly lifelike and eerily tangible to the viewer. In James Cameron’s Aliens (1986), the creature effects by Stan Winston Studios were exceptional because they were created and filmed in a real environment, making them seem more authentic to the audience, whether consciously or not. The memorable confrontation between Ellen Ripley (played by Sigourney Weaver in a practically constructed Power Loader Mech) and the Queen Alien from Aliens, exemplifies how this franchise consistently pushes the limits of practical effects, setting new benchmarks for horror-sci-fi cinema.

In contemporary times, advancements in digital effects technology enable films like “Romulus” to create visuals that were impossible to achieve in 1979 or even 1986. For instance, a tricky zero-gravity scene where a snow globe-like chamber filled with toxic Xenomorph blood floats, and the ominous planetary rings of Jackson Star hovering menacingly outside the Romulus and Remus, potentially destroying the ship, are examples. However, all these visuals are rooted in the realism of the fictional universe. It’s worth noting that our human brain is quite adept at discerning truth from falsehood, particularly when it comes to computer-generated images that aim to mimic complex and tangible living beings such as the Xenomorph or any form of humanoid.

Practical Effects in Alien: Romulus

What Horror Legacy Sequels Can Learn from Alien: Romulus

In the realm of visual effects, Romulus stands out for its seamless integration of real-life practical effects and computer-generated imagery (CGI). This skillful combination lends the futuristic setting of Romulus a realistic, tangible feel. Regrettably, there is one notable flaw in the otherwise exceptional visual effects displayed in Alien: Romulus, which centers around the digital recreation of a beloved character and actor from the Alien series. While the film clearly states that the character seen in Romulus is a new entity, this move has sparked debate among fans. Whether it’s well-received or not, it could provide a valuable lesson for future sequels based on established franchises.

Through simplifying the scope of their narrative, Alvarez and his team effectively bring Romulus back to its terrifying roots, distancing it from the vast cosmos of Prometheus and the occasionally complex lore of Alien: Covenant. This doesn’t mean that the film is lacking in ambition; quite the contrary, Alvarez reserves his most audacious visual masterpiece for the grand finale. And when it appears, it truly takes one’s breath away.

In the film Romulus, the realistic quality of the sets and creatures is vividly showcased through continuous wide shots with deep focus, emphasizing every intricate detail of the movie’s design, thereby immersing viewers in the unique, engrossing world of Alien. The connection between H.R. Giger and Ridley Scott’s work on Alien, and the return to using tangible, practical special effects in Alien: Romulus is unmistakable. It’s hoped that the film’s traditional approach to special effects will inspire future filmmakers tackling the numerous horror legacy sequels that Hollywood currently produces. There is no greater pleasure when watching a movie like Alien: Romulus, than witnessing fear being skillfully crafted, in a timeless, old-school fashion.

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2024-08-22 19:06