When she eventually does step up, she’s – much like Ripley’s clone in Resurrection when compared to the real thing – a falsely engineered insta-hero rather than one grown from a meaningful journey.Where story, character, consequence and causality should intertwine with heady, unsettling themes, we get simply a series of disjointed events, reveals, and twists in search of a plot.Initially appearing to do a near-flawless job of re-establishing the tone and texture of the series’ uniquely doom-laden, industrial-gothic universe, Alien: Covenant rapidly sets out a very enticing stall.Stark, uncompromising, hard-edged, and largely delivered with pleasingly underplayed grit, the film’s opening does a convincing and very deliberate job of purging the gleaming, vacuous sci-fi excess of Prometheus in favour of something altogether dirtier, more grounded, and human.Here, as on multiple occasions, Covenant plays with the visual grammar of Alien, but speaks in a different voice.A much angrier, more aggressive, more threatening one. Once the adrenaline wears off, however, the film begins to unravel, having seemingly dazed itself into a stupor with its spirited, early assault.It helps that liberal allusion is made to Jerry Goldsmith’s original Alien score, of course, but as disorienting events conspire to send the crew of the colony ship Covenant off-course, the proliferation of deft visual nods, canny continuity allusions, and above all, sheer Ultimately, though, it’s all smoke and mirrors.
I’ve been thinking about that Alien a lot since seeing Covenant.
One could only imagine who the “human trampoline” was though.
HR Giger’s original Alien design featured a white, human skull under a transparent, exoskeleton dome.
It’s barely noticeable in the first film due to the way the creature is lit, and has long-since dropped out of visual canon.
It’s a weird thing to behold now, a creature both more and less alien than the one we know, discordantly trapped between identities and uncertain of what it is.