Alien: Romulus returns the iconic sci-fi horror series to its bloody foundations, with stripped-down survival horror, a twisted horror framework, and the return of an original Giger’s biomechanical xenomorph.
Though primarily through 1979’s Alien and 1986’s superlative sequel, AliensArray Alvarez, the film also nods to Alien’s broader legacy, from less-than-stellar sequels to related novels and comics. And that includes Creative Assembly’s creepy 2014 game, Alien: Isolation.
“Alien: Isolation is something that made me realize that Alien can be scary and well made [today],” Alvarez told the Inside Total Film and GamesRadar+ podcast. “I played it for many years after it came out. Don’t breathe was coming out. Or were you waiting for Don’t Breathe to come out and betting the game? So at that moment, I thought, “Damn, if I’m allowed to do anything, I’d love to make Alien and scare audiences with this creature and those environments. I played it and learned how scary Alien can be. ” . » if you use this tone back.
Those of you with eagle eyes probably won’t forget that the first behind-the-scenes symbol of Alien: Romulus (see above) features a familiar-looking emergency phone. In the game, those “save points” allow the player to save money, but precisely a safe haven, as their painfully slow operation leaves main character Amanda Ripley vulnerable to a pharyngeal jaw in the back of her head, a fact that Alvarez will pay. tribute to. to Romulus.
“The film is set in such a way that every time something serious is about to happen, you see a phone,” the director and co-writer of Romulus said with a smile when we met in London. “In the game, each and every one of you knew there was a phone, you’d say, ‘Damn, I’m about to go through a bad scene. ‘It’s the same here. You’ll see that they’re strategically placed throughout the movie. Look at the phone and it’s like: prepare for impact.
I am the associate editor of Total Film magazine and oversee the feature film segment of each factor where you can read exclusive, in-depth interviews and see the first photographs of the most important films. In the past I was the editor of the science fiction magazine SFX. Horror, fantasy, and horror movie bible. You’ll find my calling in the news, reviews and reports covering all kinds of films, from the latest French auteur film to Hollywood’s biggest blockbuster. My paintings have also been featured in the official PlayStation and Edge Magazine versions.
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