Alien: Romulus (Movie)

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    Golden Globes Snubs and Surprises: Jon M. Chu, Danielle Deadwyler, ‘The Substance’ and More

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    Female directors were well-represented, while “Dune: Part Two” and “Sing Sing” didn’t do as well as expected.The 82nd Golden Globes nominations were announced Monday morning and the unconventional musical “Emilia Pérez” had plenty to sing about: The Netflix film topped all movies with 10 nominations, followed by “The Brutalist” and “Conclave.” Here are some of the most notable takeaways from this year’s field.Ryan Reynolds rebuffedRyan Reynolds wasn’t nominated for “Deadpool & Wolverine.”20th Century Studios/MarvelBefore a series of recent scandals prompted the Golden Globes to diversify its voting membership, you could count on this show to favor celebrity over critical consensus: Every year, the list of nominees included A-list megastars who were recognized even when their projects were not up to par. The old Globes voters, for instance, would have been eager to nominate the “Deadpool & Wolverine” star Ryan Reynolds for best actor in a comedy or musical, if only to lure Reynolds and his wife, Blake Lively, to their red carpet. The new Globes voters proved more resistant to his charms, though they did find room for the Marvel blockbuster in their dubious box-office achievement category, added last year.A ‘Sing Sing’ setbackClarence Maclin, left, and Colman Domingo in “Sing Sing.”A24Just last week, the A24 prison drama “Sing Sing” had a strong night at the Gothams, picking up wins for lead performance (Colman Domingo) and supporting performance (Clarence Maclin). The Globes proved less enamored: Only Domingo scored a nomination, and both Maclin and the film were snubbed. After an acclaimed but quiet run in theaters earlier this summer, the “Sing Sing” awards-season relaunch just took its first notable hit.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      At the Movies, the Apocalypse Has Already Arrived

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      In “Joker: Folie à Deux,” “Megalopolis” and more, the sense of an isolated and fearful humanity pervades this season’s films.The apocalypse started earlier this year.Back in March, “Dune: Part Two” picked up the story of Paul Atreides, set 10,000 years after a war with artificial-intelligence beings nearly obliterated humanity. The “Dune” saga suggests history is cyclical, even if the details rearrange themselves. Paul’s world once again teeters on the brink, though the characters don’t know just how close to the edge they are. No matter. The precarity is plenty palpable.Hollywood has sustained a long love affair with tales of apocalypse — look no further than the Marvel Cinematic Universe’s obsession with the end of the world. But frequently, the storytelling fits a familiar template. Humanity faces some great threat: aliens, viruses, zombies, meteors, nuclear devices, megalomaniac villains in shadowy lairs. Governments are incapable of dealing with the threat. Only some hero (a retired cop, a retired soldier, a retired superhero) can save the day. He does, and we all cheer.The “Dune” saga feels different, though, and not just because Paul Atreides is not your typical popcorn-movie messiah. This world is darker; the fate of humanity is not guaranteed. The biggest threat to life is not a single clear menace, but a mysterious confluence of factors that nobody, not even the most savvy of characters, quite understands.Here apocalypse moves away from the meaning we usually ascribe to it — mass destruction, curtains on humanity and so on — and toward its older meaning. The English word “apocalypse” comes from the Greek “apokalypsis,” which means revelation. It’s a moment of unveiling, of the hidden things becoming clear. The curtain blows aside briefly and reality becomes lucid. Apocalypse is not always world-historical. Our lives are full of personal apocalypses; our nations experience them repeatedly, often in times of great distress. We learn who we are, what we stand for and what really matters in apocalyptic times. What comes next might be dystopian, or utopian. Most likely, it will be a bit of both.So perhaps it’s unsurprising that cinematic apocalypse, so visible everywhere, has been diversifying. (After all, the movie business is itself fast reaching an apocalyptic moment.) In March, the best picture Oscar went to “Oppenheimer,” a movie about how we arrive at moments of apocalypse. Soon after, “Civil War” — a movie set in a country in the midst of disintegrating — kicked up arguments about its politics. But its real insight was that habitually looking at trauma has changed the characters’ relationship to humanity itself, an apocalyptic realization if there ever was one.“Megalopolis,” with Adam Driver and Nathalie Emmanuel, explores the difference between expedient relationships and those that endure.LionsgateWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Alien: Romulus’ Review: Go Ahead, Scream (No One Can Hear You)

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      The seventh installment of the series centers on Rain (Cailee Spaeny), a contract worker in an outer-space mining colony, and her friend Andy (David Jonsson), an android.Some movie sequels take a series in new directions, adding original ideas, new characters, different approaches and, at times, heft and myth. Other sequels are more like filler. They help plug the spaces between movies and keep the franchise’s brand in the public’s imagination, all while trying to make some cash. The newest “Alien” movie, “Alien: Romulus,” the seventh installment in this storied, apparently inexhaustible cycle of films, is perfectly adequate filler.Since Ridley Scott’s “Alien” burst into gripping, gruesome life in 1979, the series has generated hits and misses, tankers of acidic slobber and a sizable body count. The franchise turned Sigourney Weaver into an icon and gave David Fincher his start as a film director. As the movies piled up, they also reminded you that the original “Alien” is a masterpiece and that even the lesser follow-ups that Scott directed, “Prometheus” and “Alien: Covenant,” have their virtues, among them striking visuals, filmmaking intelligence, a curiosity about the cosmos, and a twinned appreciation for the mystery of life and the inevitability of death.“Alien: Romulus” is a nuts-and-bolts action-adventure horror story with boos and splatter. It doesn’t have much on its mind but it has some good jump scares along with a disappointingly bland heroine, a sympathetic android and the usual collection of disposable characters who are unduly killed by slavering, rampaging extraterrestrials. In series terms, the events in “Romulus” take place between those in “Alien” and those in the second film, “Aliens.” Written and directed by James Cameron, and crowded with big guns and bulging biceps, “Aliens” is largely notable for its swaggering action sequences that have become de rigueur in the series and for giving Weaver’s Ripley a muscular makeover while turning her into a surrogate mom.Directed by Fede Álvarez (“Don’t Breathe”), who shares script credit with Rodo Sayagues, “Romulus” tells a familiar, half-baked story of adversity, gritty perseverance, quick thinking and a drag-down fight for survival. It centers on Rain (Cailee Spaeny), a 20-something contract worker in a grim outer-space mining colony. There, along with Andy (David Jonsson), a glitchy android that she loves and calls her brother, Rain yearns to leave the sunless planet and the punishing conditions that condemned both her parents to early deaths. She soon gets her chance when some other friends share that they’re planning an escape in an abandoned space station that has conveniently drifted above their planet.Álvarez gets through this setup economically, and it isn’t long before Rain and company are creeping through the station’s eerily empty corridors, exploring its topsy-turvy rooms and pondering its not particularly mysterious mysteries. (Álvarez spends a lot of time showing off his sets, which are more engaging than the writing.) Spaeny, who played Priscilla Presley in Sofia Coppola’s “Priscilla,” is an appealing performer — her youth and slight frame deceptively suggest near-childlike vulnerability — and you’re on Rain’s side straightaway. What keeps you rooted there is largely a matter of film-going habit and franchise familiarity: She’s the heroine and Ripley’s symbolic heir, after all, and the monsters are coming.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Cailee Spaeny of ‘Alien: Romulus’ Is Learning How to Be a Star

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      The actress Cailee Spaeny, the seventh of nine children born to committed Southern Baptists, left school in Missouri at 13. She had found work at a theme park, Silver Dollar City, in the Ozark Mountains, which allowed her to strike out on her own.“I was just so ready,” she said. “I definitely had a feeling that I needed to experience something else really early on. I wanted out of this Midwestern box.” Silver Dollar City was that first step.The next year, she took another one, convincing her mother to drive her across the country to Los Angeles, where she quickly secured an agent and a manager. More trips followed, more nights sleeping in the spare rooms of friends of friends or families met at church. Finally, when she was 17, she booked a role in the action movie “Pacific Rim Uprising.”Casting directors noticed her then. Wryly, Spaeny narrated what happened next. “This fresh-faced little girl comes to town,” she said. “She’s from the Midwest, she’s got a bit of an accent, bright-eyed, bushy tailed. They jump on that opportunity.”Spaeny, now 26, is still reasonably bushy tailed. She has wide-set eyes, an open countenance suggestive of some Great Plain and an unfussy femininity that she can ratchet up or way down as a role demands. There’s also an intensity to her, a tinge of the steeliness that had her paying her own way when she was barely a teenager. Hollywood jumped on that, too.Coming off “Uprising,” she booked four roles in a single week, and then she booked more, moving briskly from teen fare (“The Craft: Legacy”) to auteur-driven films like Alex Garland’s “Civil War” and Sofia Coppola’s “Priscilla,” in which Spaeny played the lead. Now she is starring as Rain in “Alien: Romulus” (in theaters Aug. 16), the latest entry in the space horror franchise.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More