They told me it was bad, but I went anyway. It's hard for me judge Ridley's work objectively, you see: two of his early masterpieces traumatized me as a kid and had a lasting effect on me, so I'm prepared to forgive a lot, perhaps too much. Except now, after 30+ years, I think I finally understand him.
Let's zoom out a bit. Ever since the first Alien sequel came out, Scott had been musing about what a sequel involving him might be about. Rather than continue Ripley's journey, he would rather investigate the Alien's origins, especially the colossal race briefly shown in 1979's Alien - in a massive, eerie set Fox almost had canned because it was pricey and did nothing to advance the plot. Think about it: had Fox had held a slightly tighter purse, there would be no Prometheus. Hardly a heart-breaking prospect for most people, myself included.
Fast-forward three decades and Scott got his chance. The answers to the questions nobody really cared about - since when does answering questions help a horror film? - were more puzzling than thrilling, and while you can commend Prometheus for trying something different, it didn't always do so successfully, chiefly in terms of design. Beyond the stupidity of the one-dimensional crew and the confusion of Damon Lindelof's rewrites, one of the greatest disappointments came from changing the engineers from Gigerian nightmares into gigantic blue Jason Stathams.
So Prometheus came and went. Ridley went from saying it wasn't an Alien film, to admitting it had Alien DNA. Audiences cried foul when they realized it totally was an Alien film but didn't feature the illustrious xenomorph. When the inevitable sequel came, it looked like audience feedback weighed heavily in pretty much every respect. You can be the judge of whether or not this turned out to be a good thing.
Alien Covenant reads like a wish-list of disgruntled Prometheus viewers. It fits in everything you liked last time around - Fassbender's android especially - and adds all the things you thought were missing, like the xenomorph (or is it still a prototype?), some brutal killings and echoes of the original film galore.
A new crew gets diverted by a rogue signal (ring a bell?) and discovers a terraformed world with weird idiosyncrasies. Before they can investigate bad things happen and synth human David (Fassbender) comes to the rescue. He is immediately fascinated with the crew's own android Walter (also Fassbender) and we see what he's been up to for the past ten years with engineer technology. Playing God on his lonesome, only a version of God that makes the Old Testament maniac come across as a choir boy...
From the get-go, Covenant goes out of its way to draw parallel's to 1979's Alien. Yes the prologue is pure Prometheus (in the best sense) but, form the way the titles pop up to plot beats, down to reuse of Jerry Goldsmith's score and the rehashed final 25 minutes, this really plays on your sense of nostalgia. It's a pity because while a lot of the newer ideas are a bit silly if you think about them for too long, they are the best things about the film. Them and Michael Fassbender. If you wonder why I haven't mentioned anyone else in the cast, it is because they are interchangeable and forgettable, but Fassbender is just so fantastic and put to such great use that he barely just about redeems the situation.
Quick aside on the music: the Alien saga is unique in the variety of its aesthetics, but it's worth adding that each film had its own distinct musical identity, with no effort ever made to carry over even the slightest theme. This has led to some fantastic music: from Goldsmith's understated eerie original to Horner's martial classic, all the way to my favorite, Godenthal's apocalyptic Gothic opera for Alien 3. Prometheus had a solid, inspiring theme as well, but still made no attempt to unify the saga. While it comes at the expense of creating anything new and memorable, it is commendable of Jed Kurzel to so successfully bridge the gap for a change.
Not all is perfect of course, for every awe-inspiring moment - a ravaged forest of giant trees, David's necropolis and attempt to "pet" a new alien, or his unleashing of deadly plagues - there is another of sigh-inducing stupidity: most of the crew's early decisions, a three-stooges-style alien VS rappelling proto-Ripley duel, or a twist you can see coming a mile away... and that shower scene alluded to in trailers is what you'd expect to see in Paul W. S. Anderson's Alien, down to its surprisingly inept execution.
My expectations were low going into this, mainly because of word-of-mouth, but then I saw it, and suddenly everything made sense. You have to think of it this way: before it was a phenomenon, Alien was a B-movie. Yes it was the best-looking B-movie of all time, but a B-movie nonetheless. That is also, in a way, what Ridley Scott has always been: a hack with a golden eye, who makes the most heartbreakingly gorgeous B-movies you can feast your eyes on. If you go into Alien Covenant expecting that, you just might love it. I can't say I did, but it did adjust my appreciation for it.
There are moments when it's a 1. Others (scarcer) where it could well be a 9 or 10. On the whole, I'll give it a 6.
Let's zoom out a bit. Ever since the first Alien sequel came out, Scott had been musing about what a sequel involving him might be about. Rather than continue Ripley's journey, he would rather investigate the Alien's origins, especially the colossal race briefly shown in 1979's Alien - in a massive, eerie set Fox almost had canned because it was pricey and did nothing to advance the plot. Think about it: had Fox had held a slightly tighter purse, there would be no Prometheus. Hardly a heart-breaking prospect for most people, myself included.
Fast-forward three decades and Scott got his chance. The answers to the questions nobody really cared about - since when does answering questions help a horror film? - were more puzzling than thrilling, and while you can commend Prometheus for trying something different, it didn't always do so successfully, chiefly in terms of design. Beyond the stupidity of the one-dimensional crew and the confusion of Damon Lindelof's rewrites, one of the greatest disappointments came from changing the engineers from Gigerian nightmares into gigantic blue Jason Stathams.
So Prometheus came and went. Ridley went from saying it wasn't an Alien film, to admitting it had Alien DNA. Audiences cried foul when they realized it totally was an Alien film but didn't feature the illustrious xenomorph. When the inevitable sequel came, it looked like audience feedback weighed heavily in pretty much every respect. You can be the judge of whether or not this turned out to be a good thing.
Alien Covenant reads like a wish-list of disgruntled Prometheus viewers. It fits in everything you liked last time around - Fassbender's android especially - and adds all the things you thought were missing, like the xenomorph (or is it still a prototype?), some brutal killings and echoes of the original film galore.
A new crew gets diverted by a rogue signal (ring a bell?) and discovers a terraformed world with weird idiosyncrasies. Before they can investigate bad things happen and synth human David (Fassbender) comes to the rescue. He is immediately fascinated with the crew's own android Walter (also Fassbender) and we see what he's been up to for the past ten years with engineer technology. Playing God on his lonesome, only a version of God that makes the Old Testament maniac come across as a choir boy...
From the get-go, Covenant goes out of its way to draw parallel's to 1979's Alien. Yes the prologue is pure Prometheus (in the best sense) but, form the way the titles pop up to plot beats, down to reuse of Jerry Goldsmith's score and the rehashed final 25 minutes, this really plays on your sense of nostalgia. It's a pity because while a lot of the newer ideas are a bit silly if you think about them for too long, they are the best things about the film. Them and Michael Fassbender. If you wonder why I haven't mentioned anyone else in the cast, it is because they are interchangeable and forgettable, but Fassbender is just so fantastic and put to such great use that he barely just about redeems the situation.
Quick aside on the music: the Alien saga is unique in the variety of its aesthetics, but it's worth adding that each film had its own distinct musical identity, with no effort ever made to carry over even the slightest theme. This has led to some fantastic music: from Goldsmith's understated eerie original to Horner's martial classic, all the way to my favorite, Godenthal's apocalyptic Gothic opera for Alien 3. Prometheus had a solid, inspiring theme as well, but still made no attempt to unify the saga. While it comes at the expense of creating anything new and memorable, it is commendable of Jed Kurzel to so successfully bridge the gap for a change.
Not all is perfect of course, for every awe-inspiring moment - a ravaged forest of giant trees, David's necropolis and attempt to "pet" a new alien, or his unleashing of deadly plagues - there is another of sigh-inducing stupidity: most of the crew's early decisions, a three-stooges-style alien VS rappelling proto-Ripley duel, or a twist you can see coming a mile away... and that shower scene alluded to in trailers is what you'd expect to see in Paul W. S. Anderson's Alien, down to its surprisingly inept execution.
My expectations were low going into this, mainly because of word-of-mouth, but then I saw it, and suddenly everything made sense. You have to think of it this way: before it was a phenomenon, Alien was a B-movie. Yes it was the best-looking B-movie of all time, but a B-movie nonetheless. That is also, in a way, what Ridley Scott has always been: a hack with a golden eye, who makes the most heartbreakingly gorgeous B-movies you can feast your eyes on. If you go into Alien Covenant expecting that, you just might love it. I can't say I did, but it did adjust my appreciation for it.
There are moments when it's a 1. Others (scarcer) where it could well be a 9 or 10. On the whole, I'll give it a 6.