More video game-inspired than anything Alien franchise, this slimy mess replaces suspense with horror gimmick. I wonder if Director Fede Álvarez was trying to emulate that ‘90s Disney theatre-in-the-round attraction, Extraterrorestrial Alien Encounter. Did you ever experience that “ride” before they tore it down?
Benjamin Wallfisch’s score is outlandish, the diction is garbled, Cailee Spaeny could use a new genre beside drama and sci-fi, the slapdash CGI tops Rogue One, and Ridley Scott needs to finally put this gelatinous beast to bed and direct more computer screens of Roman Colosseums.
Here’s yet another nod to Hollywood’s infectious unoriginality with trailers to more reboots like The Crow.
Alien: Romulus (2024) ** out of *****
A hauntingly beautiful atmosphere simultaneously blends and clashes with generic horror tropes, resulting in cleverly connected narrative, some lame acting, and an overflow of expositional setup. This is one of those “oddities” that works best in concept and technical execution until the actors get in the way.
That being said, the halfway point is legitimately frightening, and the prestige—as effed up as it becomes—wraps it all up as only a decent horror flick could. This one stays with you. I think about the twist in the end every day.
Oddity (2024) ***1/2 out of *****
Yes, you can even find beauty, symmetry, and philosophy in Columbus, Indiana. If you look even closer, you can find grace, mystery, and compassion. In essence, it is all human—as simple as “Casey” for “Cassandra” and a smoke break by train whistles. But, it can also be as complicated as forgiving a loved one. Rain pitter-patters almost as loud as our protagonist’s thoughts. This is exactly the kind of pensive, minimalist drama I gravitate toward. Less is always, always more. Commendation to Writer/Director Kogonada for doing nothing but observing, listening, and sympathizing.
Columbus (2017) ****1/2 out of *****
Reely Bernie 
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