The ninth film set in this universe returns to the haunted-house-in-space aesthetic that Ridley Scott first unveiled 45 years ago
Continuing excitement about the Alien franchise offers evidence of the human capacity for hope in the face of dispiriting experience. This is the ninth film set in that universe, and there hasn’t been one worth getting properly enthused about since Ronald Reagan was in the White House.
The two are looking forward to a life away from grim and distant mines when Rain learns that the evil overlords have unilaterally extended her contract. She and a huddle of young pals decide to take charge of their own destiny. They become aware of an apparently abandoned spaceship and set out to make best use of what remains within. You hardly need to be told that innards of the vessel are decorated with young aliens ready to plant themselves within unwilling humans.
About halfway through, with an expositional gesture towards one of the earliest episodes, the plot introduces evil schemes, mad tech and some improbable time frames. It doesn’t do to over-interrogate the science in these things, but, all allowances made, too much happens a little too quickly here. In what seems like only a few hours, we get enough incident for an entire box set of science-fiction epics.
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