Badlands is a romp through a vividly realized alien world filled with danger. It’s also a film with heart.
Hollywood pumps out so much disappointing content, especially in the age of streaming, that it’s easy to become disillusioned with movies altogether.
But every once in a while there’s a film that reminds you how much fun movies can be, hitting all the right emotional notes while taking you completely out of this world for two blissful hours.
Predator: Badlands is that kind of movie. Unexpectedly funny and poignant, it also delivers the kind of action audiences have come to expect from the Predator franchise — and then some.
The biggest change here is that, for the first time, a Yautja (the alien species we call the Predators) is the protagonist.
Njohrr is a Yautja clan leader who believes Dek is not strong enough to earn his place in the clan.
Dek isn’t just any Yautja. He’s a youngster who is horribly wronged in the opening minutes of the film and sent to Genna, a place his species calls the “death planet” because virtually every form of life there is monstrous and spectacularly lethal.
His own death is a foregone conclusion on the brutal world until he meets two unlikely allies: Thia, a damaged synthetic (android) built by the notorious Weyland-Yutani corporation, and Bud.
Bud steals the show, but I wouldn’t dream of robbing anyone of the pleasure of experiencing Bud the way writer/director Dan Trachtenberg intended, so I will say no more.
Elle Fanning and Dimitrius Schuster-Koloamatangi play Thia and Dek, respectively. Fanning adds a human element as she and Dek team up initially for survival, then out of loyalty to each other.
Badlands has a lot of heart and a script that knows just when to slice the tension. In one quiet scene after surviving an encounter with a particularly nasty creature, Thia (an energetic Elle Fanning) raves about the experience and the excitement of accompanying Dek and Bud on a hunt.
“The Dynamic Trio! Remember when we went down the tree? That monster’s mouth? I mean… Uggh. Didn’t smell great, didn’t smell great, but we got him. We got him! Thank you, seriously, for that experience. Truly amazing. Thrilling! Truly thrilling.
“What was your favorite part?” she asks the young Yautja.
“When my sword pierced the creature’s skull and its blood ran down my face,” Dek deadpans.
Dek is not invincible, and he’s without the vast majority of his arsenal, with only his trusty heat sword to defend against the hyper-aggressive fauna of Genna.
This is Trachtenberg’s second Predator film, and Badlands exists because he proved there was life still left in the franchise with 2022’s Prey.
That movie was unfortunately streamed direct to Hulu without a theatrical release, as were several big time films that year, because of a resurgent COVID wave. (Remember the Delta variant?)
But critics and audiences, including your humble Buddesian correspondents, found a lot to like in the story of Naru (Amber Midthunder), a young Comanche woman living on the Great Plains in 1719. After encountering a Yautja, Naru warns her tribe that a mysterious and dangerous creature is stalking their lands, but they laugh at her and accuse her of telling tall tales — until they see the Yautja for themselves, at which point they don’t find it amusing anymore.
Midthunder was fantastic, and Prey balanced its historical setting with stunning action sequences and quiet character moments.
Amber Midthunder as Naru in 2022’s Prey.
In earlier installments, including Prey, the Yautja were always the antagonists. We knew they were a warrior culture, that they followed an honor code and possessed fantastically advanced technology, but for the most part the Yautja remained a blank slate aside from some non-canonical media (mostly novelizations, comics and games) that attempted to expand the universe.
Badlands demystifies the Yautja somewhat out of necessity, which is always a dangerous gamble (just ask the xenomorph of Alien fame, which lost its mystique half a dozen sequels ago), but significantly raises the emotional stakes.
Dek isn’t invincible. Circumstances have robbed him of most of his arsenal, he’s thrown into a perilous and unfamiliar world, and he’s haunted by the fresh memories of the tragedy that sets off the events of the film.
That makes it easy for the audience to identify with and root for Dek, despite the difficulty of conveying emotions with alien facial features. Dimitrius Schuster-Koloamatangi deserves credit not only for imbuing Dek with physicality, but also for getting the most he can out of the Yautja youngster’s brooding body language, howls of frustration and slowly dawning realization that he can choose his own path in life.
It may take a planet teeming with horrors to make an underdog of a Yautja, but Badlands succeeds on that count.
Predator: Badlands set a record for the franchise with a $40 million opening weekend, and pulled in $184 million total at the box office. It was made available for streaming this week. With the financial success, and the positive reviews from critics and fans alike, it’s possible we’ll see Dek, Thia and Bud continue their adventures in a sequel.
It took a fresh vision to prove there’s still cinematic life in the xenomorph and its ability to terrify audiences, but Romulus really shines where its affable characters are concerned.
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.
A space jockey chamber in the derelict starship, of the same kind seen in the first film, only this time the ship is powered up. Prometheus and Covenant tried to give us a backstory for the creatures, which only made them more pedestrian.
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.
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.
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.
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.
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.
Pain In The Bud 