movie review – Pain In The Bud

ET. The Last Starfighter. Explorers. Enemy Mine. Arrival.

While Alien is nightmare fuel combining dread in its purest form and the hallucinogenic visuals of one of modern history’s most disturbed artists -creating a vision of extraterrestrial life so horrific that many audiences couldn’t deal with what they were seeing when it hit theaters in 1979 – science fiction also has a strong tradition of imagining friendship in the stars.

Audiences love it when their spacefaring hero finds a buddy.

Project Hail Mary is that kind of movie, but it doesn’t look that way at first. Dr. Ryland Grace (Ryan Gosling) is a biologist who was laughed out of higher education when he published papers arguing that our ideas about what’s necessary for life to spark were all wrong.

Grace is an enthusiastic middle school science teacher when we meet him through the eyes of a UN official who recruits him for what will be known as Project Hail Mary.

The movie uses classroom scenes for exposition, as the young students beg Goslin’s Dr. Grace to tell them why the astrophage endangers Earth. Credit: MGM

The sun is dying. No one’s sure why until an amateur astronomer named Irina Petrova discovers a wispy line of infrared radiation bridging Venus to our home star. The newly-Christened Petrova Line is made of astrophage, a virus-like organism that feeds on stellar energy, robbing the star of its power.

What begins as a gradual, almost imperceptible drop in the sun’s energy quickly accelerates and the Earth’s temperature begins to plummet.

The same papers that got Grace exiled from academia land him a spot on the worldwide project to study and destroy the astrophage. The usual assumptions about how life operates are not cutting it, and the project needs all the independent thinkers it can find to look for a solution.

If they can’t find one, the dying sun will leave the Earth in a deep freeze. In turn it will bring on a new ice age, the destruction of most of Earth’s arable farmland, mass extinction of plants and animals, then famine and all the horror that comes with it.

The narrative cuts between past (Grace’s introduction to the project and its early days) and present, when Grace is one of three crew members headed to the star system Tau Ceti to find out why it’s the only star in our cluster that hasn’t been infected with astrophage. In our entire galactic neighborhood, only Tau Ceti — a G-type star similar to our sun about 12 light years out — continues to burn bright.

The movie offers some spectacular, sometimes even trippy space vistas, such as this one of the planet Tau Ceti E. Credit: MGM

It turns out humans are not the only ones desperate to know why Tau Ceti is not dying, and that’s where the movie goes from interesting to emotionally resonant, poignant and a heck of a lot of fun.

There’s plenty of mystery, tension, and awe at the beauty of creation, all against the backdrop of Grace’s evolving relationship with his unexpected buddy.

This is a movie that would have been a major challenge for any lead actor, and Gosling not only imbues Grace with with a self-conscious, cautious bearing, he also does a great job of carrying long scenes without the benefit of another expressive human face to help him sell the action and drama.

What could have been convoluted science is explained to the audience in simple and effective terms. The problem is outlined elegantly, and the stakes are made very clear. If no one can figure out how to stop the astrophage, humanity will likely survive in the near term, but only in miserable, resource-depleted, technologically retrograde pockets of people who regard others as a threat. Eventually even those holdouts will succumb to cold and starvation.

The same image of Tau Ceti E from above, but this time viewed in a different wavelength of light that reveals the astrophage traveling along Tau Ceti’s own Petrova Line.

The film doesn’t trivialize space either. An interstellar journey is the kind of thing we might be able to accomplish with the pooled resources of humanity, the brightest engineers, designers and scientists of our species, but it’s also a long, extremely dangerous and difficult undertaking.

Thus the name Project Hail Mary. It’s a long shot, audacious and unlikely to succeed, but as Sandra Hüller’s UN project leader explains to Goslin’s Grace, the only alternative is to do nothing and wait to die.

Perhaps most importantly from a science perspective, the film offers a clever way for the project to generate the energy needed to send a ship to Tau Ceti at near-light speed. Currently we might be able to build a viable vessel, which would be a monumental design and engineering challenge, but it would take more than 150,000 years to travel that far with our best current propulsion systems. More energy — and speed — is a must, especially when the mission is a race against time, with only a few decades before our planet freezes over.

The movie’s solution won’t help us in real life, but within the context of the narrative it’s a clever way of traversing enormous distances in a short time instead of the thousands of years it would normally take.

Every star within dozens of light years of Earth is infected with astrophage and dimming except for Tau Ceti. Why?

Plausible science provides the framework for the story, but its payoff is emotional, and Dr. Grace’s experiences with his strange new friends will remain with you after the credits roll.

If you’re like me and didn’t rush to see this in the theaters because you found The Martian — based on a book by the same author — overhyped, do yourself a favor and spend an evening in Project Hail Mary‘s world. It’s a journey well worth taking, and the rare movie that leaves you with a glow by the time the credits roll.

Project Hail Mary is currently streaming on Amazon Prime video.

Even a SF-horror fan like me would love to see more lighthearted science fiction in the mold of Project Hail Mary and classic 1980s science fiction adventures like The Last Starfighter and Explorers.

Over four decades and six films — eight if you count crossovers — in the Alien universe, no one had been able to capture even a fraction of the terror, novelty or magic of Ridley Scott’s original 1979 science fiction-horror classic.

James Cameron turned the immediate sequel into a James Cameron movie, which means it’s packed with Velveeta one-liners, Spanish catch-phrases that no Spanish-speaking person would ever utter, and doesn’t exercise an ounce of the restraint Scott used to such cosmic effect.

In the third outing, David Fincher took on the impossible task of trying to reconcile the tone of the first two films and set the entire thing in a drab space prison, while Joss Whedon’s script for the fourth film was Firefly in Alien trappings.

While the xenomorphs never looked better, Alien: Covenant felt like half a movie, ending on a cliffhanger that will never be resolved.

The titular monster had been stripped of nearly all its mystique by the time Scott returned to the franchise with Prometheus and Covenant, the fifth and sixth installments.

Both films were visually spectacular thanks to Scott’s efforts, but suffered from characters audiences couldn’t connect with, and in the case of Damon Lindelof’s script for Prometheus, characters the audience loathed. Instead of leaving the origin of the aliens ambiguous, Prometheus and Covenant offered a bizarre, nearly franchise-killing backstory involving alien-designed panspermia, artificial intelligence gone rogue and half-baked creationism given the veneer of science.

When Fede Alvarez presented his vision for an Alien film, he understood he had two do two things:

Ignore everything that came after Scott’s original film
Offer something more than the formulaic “monster stalks the cast deck by deck and kills them one at a time, leaving only the Final Girl”

Alien: Romulus sets off on that task by engaging in economical world building to give us more context than the five previous sequels managed together.

It’s tightly focused on our heroes, a group of five twenty-somethings who were born on a fiery world where lava perpetually flows, novel diseases spawn every year and a permanent atmospheric coat of soot and ash hides the sun and sky from the people who live there.

It’s a hellish place, and they’re there because multinational megacorporation Weyland-Yutani (“the company” in Alien parlance) wants the valuable ores within the planet’s crust. Like the crew of the Nostromo, the people are expendable in the company’s pursuit of profit.

Alien Romulus: Jackson's Star — The people who live in the colony at Jackson’s Star can’t even see their own sun as they slave for Weyland-Yutani corporation.

Our heroes work for the company, and they’re all orphans who lost their parents to work-related accidents or diseases from the mines.

Marie Rain Carradine’s (Cailee Spaeny) hope lies in the completion of her indentured servitude. With 12,000 hours of service to the company under her belt, Rain can finally take her brother to the colony world Yvaga, where the air isn’t toxic, people aren’t worked to death, and best of all in her mind, you can see the sun.

When Rain visits a Weyland-Yutani administrative center to formally separate from the company and relocate to Yvaga, a bureaucrat doubles her work requirement to 24,000 hours with the stroke of a key, damning her to another five or six years toiling on a planet that kills everyone eventually. Worse, the bureaucrat transfers her from farming to the mines, where her parents died.

“Know that the company is really grateful for your service,” the Wey-Yu representative says with an infuriating affect, dismissing the shocked young woman.

It’s in the depth of her despair that Rain gets a message from her friend Tyler (Archie Renaux) and listens to his pitch. Tyler and the others were working their orbital jobs miles above the colony’s surface when their computers pinged, alerting them to the approach of a massive starship.

Scans revealed a decommissioned Weyland-Yutani vessel that hadn’t been entirely stripped of its useful parts, slowly drifting through the system. Crucially, the ship still carried functional cryo pods, which would allow the group to sleep out the nine-plus year journey to Yvaga.

It’s freedom, there for the taking “before someone else does,” Isabela Merced’s Kay tells Rain.

When Rain balks at the dangerous and highly illegal plan, Tyler points out Weyland-Yutani will never grant them approval to leave the nightmarish world where they were born.

“I don’t want to end up like our parents,” he says, nodding toward the dead-eyed, soot-covered miners marching back to their utilitarian prefab homes after another shift toiling for the company.

You don’t need to guess that the plan does not go smoothly, nor the reason why.

What most people will need to know, in order to entrust two hours of their time to a franchise that has been beating a dead horse for decades, is that Alien: Romulus is the kind of sequel Scott himself would have made after the original, at the height of his directorial powers, if he hadn’t moved on to other projects.

Romulus replicates the magic of the original by taking things in exciting new directions, and by giving the audience a series of astonishing set pieces, including a gloriously nail-biting sequence that not only captures the beauty of space, but reminds us how hostile it is to our fragile human bodies.

It also takes care to give us reasons to root for characters we’ve just met, to sympathize with their plight and understand why they’d do something so desperate and reckless.

Alien Romulus: Cailee Spaeny — Cailee Spaeny is inarguably the best of the actresses who have tried to take the mantle from Sigourney Weaver’s Ripley in the last several films from the franchise.

Rain and her friends have one important thing in common with the characters from the first Alien film — they’re fighting for survival in more ways than one. There’s the immediate threat to their lives, and their eventual slow, agonizing doom if they don’t find a way off their colony world.

Unlike the characters from the previous sequels, they didn’t volunteer for a military mission, an archaeological expedition or to be pioneers on a world full of life. They’re desperate adults barely out of childhood who know life holds nothing but misery for them if they don’t succeed.

Like the best science fiction, Romulus doesn’t just entertain, it uses an imagined future to comment on our society. AI has now permeated our lives, but mainstream science fiction is still stuck on the same tired “AI evolves, turns on humans for reasons and tries to wipe us out” narratives.

Alien Romulus — Andy (Jonsson) in an airlock early in the film.

For those of us who are genre fans, it’s frustrating to see Hollywood clinging to ideas that were first kicked around many decades ago by science fiction novelists. Besides, the “AI turns on humans” thing has little to do with reality and everything to do with human anxiety that we’ll be judged for our behavior as a species the moment we encounter an intelligence capable of judging us.

Romulus eschews the formulaic stuff to explore a more interesting question: what separates biological intelligence from artificial intelligence, and can the latter really qualify as life? Can machines ever approximate human emotions, or are they limited to simulating them for our benefit? It’s still not the most original idea, but it’s a marked improvement from the same old Terminator and Ex Machina-inspired narratives.

As for the alien itself, it’s more menacing than it’s been since the first film, and it has a few tricks up its sleeve thanks to circumstances that tie directly into the original. To say more would be an injustice, because the twists here are well-conceived. They also make perfect sense given what we already know, and don’t require any great shift in franchise lore.

Lastly, as an admirer of retrofuturism, I can’t let this review pass without praising the set designers, special effects teams and Alvarez for reviving the utilitarian 1970s vision of the future from the original. This is a worn, lived-in universe, not a gleaming utopia. Alien’s aesthetics influenced virtually every science fiction effort over the last 45 years, and for good reason.

Alien Romulus sets design — Set designers at work on an interior for Alien: Romulus

There’s something anachronistic about a civilization that has mastered interstellar propulsion, cryopreservation and advanced artificial intelligence, but remains reliant on monochrome displays with vector graphics and tactile interfaces. And yet that visual shorthand signals to viewers that this is a return to the fundamental elements of the franchise, and a universe where space exploration is corporate and soulless.

Perhaps the best sign that Romulus has revived Alien is the fact that a sequel is already in the works. Spaeny and David Jonsson, who plays Rain’s brother Andy, are already on board for a second installment.

There’s certainly more story to tell, and if Alvarez can maintain the magic blend of homage and novelty that made Romulus such a strong entry, we’re in for another fun ride. To Yvaga!

Alien: Romulus is available to stream on Max, Hulu and Disney+. For a list of alternate sites where the film can be rented or purchased, or to check availability in regions other than the US, check out the movie’s listing on JustWatch.