Alien: Covenant (2017)
The melancholy of Scott’s film is that its best bits are simulated rehashes of the original 1979 film, but luckily there’s just enough of them to make this another enjoyable adventure in the series – and nothing remotely more.
Aesthetically pleasing – with a visual bonanza at the film’s close – and with some solid blood-letting in the best of fashion, it’ll please the style brigade at least. But Scott critically neglects the character development that made us care so much about the Nostromo’s crew in his 1979 genre-definer; and for all the visual jazz, it feels a cold experience.
Thematically similar to Blade Runner, and with an opening scene which could have come directly from that classic of neo-noir, Scott’s overtly preoccupied and wedded to the artificial intelligence theme for much of the running time. For sure, Fassbender’s synthetic is the realised fulcrum of the picture but the plot twists around his character are far too readily seen, predictability mitigating the film’s shock value. The ‘big reveal’ is nothing of the sort it was in Alien (1979), and it’s as if Scott can’t help but let out the secret way before time. That said, Fassbender’s performance is totemic in its own right – after this and Prometheus (2012) he’ll surely go down in franchise folk history – but I’d pine that it feels like a role chiselled into the wrong film.
The screenplay involves some ludicrous decision-making by the colonists – even by typical genre standards – which stretches the imagination. I couldn’t help garnering a sly impression that the writers were in fact quite lazy, and couldn’t be bothered to think of ingenious methods for our would-be settlers to become exposed to the alien(s).
Once the alien is on board the spacecraft, we know exactly what is going to happen and then Covenant just re-runs the latter part of the original movie. Of course, with Scott in the director’s chair it’s done very well from a choreography point of view, but you don’t feel as strongly for the cast as you did in Scott’s first effort from nearly 40 years ago. Part of the reason is another missing aspect, down again to the writers, who by making the colonists couples, cheaply extinguish the par-boiled sexual tension which simmered beneath Weaver’s Ripley and Skerritt’s Dallas in Alien (1979). In addition, there is apparently scant logic to the creature’s behaviour in Covenant ; once aboard the ship it just seems to uncaringly tear through things. That isn’t how the alien was portrayed in the original, and the xenomorph’s intelligence and stalking abilities have clearly now been downgraded to being little more than a klutz of a killing machine.
What this film does have is a viciously suspenseful shower scene, harking back to the haunted-house concept in Alien(1979). In spite of its great achievement, that’s really ‘all’ the original film was – a simple haunted-house movie in space. It’s strangely telling that Covenant is strongest when recreating this simplicity and weakest where it tries to carry on the complexity and layering of Prometheus (2012).
All in all, Scott is valiantly attempting to construct a lore and a mythos but it doesn’t feel necessary. The lacking backstory could and I’d strongly argue should be seen as positive element in these films and not a negative one. The failure to realise this continues to leave the Alien franchise in an unfavourable place.
But perhaps us fans should shoulder some of the responsibility, after all it’s our crippling desires for a universe all of our own which must have somewhat forced Scott’s treasured hand. It would have been better if the question of where this all comes from had been left as the Alien franchise’s lingering rhetoric, rather than the driver for a intricately networked batch of prequels.