An intimidating name

Rated 4.76/5 based on 502 customer reviews

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.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.While its story ideas threaten to unravel the enigmatic beast’s vital essence, perhaps Covenant’s greatest crime is the loveless, matter-of-fact way it presents the creatures when they do appear.Although wisely keeping the xenomorph off-screen for much of the film, by failing to give its appearances any real weight – a combined result of scattershot story and characterisation, with rushed, bluntly paced horror direction – that absence leads not to the ominous, paranoid dread it should, but rather a simple lack of presence.

But then, like all of Covenant’s most interesting elements, it’s prematurely jettisoned from the film, and further hampered by a couple of misjudged, unintentionally hilarious lines bound to become memes within hours of the movie opening.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.Waterston’s performance is solid, but given so little to do, her character is devoid of any kind of arc.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.

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