“…a film that tries far too hard to be everything for everyone, and consequently, on balance, falls short in all departments.”
Oh how I long for simplicity.
There are a handful of set pieces within Alien: Covenant that hint at what a decent film it could have been, but so buried are they within an over-cooked, rambling backstory, that any impact they may lend the film is fleeting, to say the least.
It was Ridley Scott who took charge of the much-hyped, but ultimately quite frankly poor, Prometheus, and in Alien: Covenant, he once again looks to rediscover a bit of that old Alien magic in the latest chapter of this most patchy of franchises.
Sadly, long gone it seems are the days when we cowered in horror and bit our nails down to the bone in fearful awe of the most excellent Alien, not to mention it’s excellent James Cameron-directed sequel, Aliens. Whilst Alien: Covenant does have its moments, it’s a very pale imitation of what’s preceded it.
Another 2017 release, Life, made no pretence to be anything other than something of a homage to some of the great science fiction films of the last half century, yet despite its relatively unoriginal concept(s), it delivered a tight, neatly packaged and thoroughly entertaining finished product with both considerable impact and laser-sharp precision.
Ridley Scott’s Alien: Covenant, in contrast, struggles somewhat for identity. There’s clearly an ‘epic’ vision at play behind the scenes here. The director tries manfully to engage his audience on far more of an expansive scale and cerebral level than simply throwing rampaging aliens in numbers at unsuspecting space travellers (although there’s plenty of that to be getting on with), but the general impression is that this is a film that tries far too hard to be everything for everyone, and consequently, on balance, falls short in all departments.
Part thriller, part thought-provoking science fiction piece, part action-packed white knuckle ride, part philosophical lament, you name it, this is a film that struggles gamely yet ultimately fails to weave these and other disparate threads together into something resembling a coherent whole.
Alien: Covenant is not helped by both momentum-sapping, drawn-out scenes of unnecessary ponderous self-reflection, and by fairly weak characterisation.
Although Michael Fassbender (playing both David & Walter) and Katherine Waterston (Daniels) turn in strong performances, and as whole-heartedly as all other parts are played, there’s something of a disconnect here between viewer and character, and I doubt that there will have been too many tears shed by the viewing public as the cast are predictably whittled down in number via various grisly means, leaving the remaining few to battle it all out in overly exaggerated bloated fight sequences.
Where Alien: Covenant does however score highly, is in the ‘memorable, hard-hitting set pieces’ department. Indeed, never let it be said that Ridley Scott doesn’t know how to shock, or to sear disturbing imagery into our collective grey matter.
There are certain franchises that tend to garner a generous tidal wave of goodwill regardless of the true quality of their output, attracting something of a blinkered, head-in-the-sand devotion by the masses. The Alien franchise is one such example. But the truth is that there have been just two truly excellent Alien films in the series, and the rest, no matter how much you dress them up, or who’s been pulling the strings, have largely been regurgitated re-hashes of the original, admittedly excellent concept.
There’s no doubt that there were good and very grand intentions behind Alien: Covenant – this is a film not without its positives, rest assured – but it’s probably all best summed up by the rather sign-posted ‘twist’ at the film’s conclusion. Well executed, but rather predictable and ultimately all a bit unnecessary.