Alien: Covenant (2017)

2017 #69
Ridley Scott | 122 mins | cinema | 2.35:1 | USA, Australia, New Zealand & UK / English | 15 / R

Alien: Covenant

Following in the footsteps of half the other Alien movies (and “following in the footsteps” is definitely a theme when it comes to this movie), Alien: Covenant introduces us to a group of people who are the crew of a spaceship. This particular lot are on their way to establish a colony when a mid-flight disaster awakens them to deal with the damage. At the same time they detect a distress call from a nearby planet — a planet that looks even more suited to supporting human life than the one they were headed for. Changing course, they find suspiciously human vegetation growing on the planet, but are soon beset by terrible things. Well, it’s an Alien movie — I’m sure you can guess where most of this is going.

I say it’s an Alien movie, but really it’s a Prometheus movie. I don’t think that counts as a spoiler, does it? It’s no secret that Michael Fassbender is back. Sure, he starts the film playing a new robot, but did anyone really think that meant his old character wouldn’t be rocking up too? Sorry if I’ve spoiled it for anyone, but, c’mon. Besides, it’s clear that — despite the initial set dressing — Ridley Scott is far more interested in the concepts that launched Prometheus than he is in creating another Alien movie. The franchise-friendly stuff powers the slow-burn opening and the final act adrenaline rushes, but in between Scott reconnects to themes leftover from the apparently-aborted Prometheus trilogy.

Fit to burst

Now, I’ve already professed to be avoiding spoilers, but suffice to say that if you put Prometheus, Aliens (as opposed to Alien), Blade Runner (yep), and Frankenstein into a blender, then poured the resulting mixture into a novelty tie-in glass from the Star Wars prequels, you’d get Alien: Covenant. Weirdly, it’s the Prometheus stuff in that blend that tastes finer than the Aliens stuff. In fairness, that’s because it’s complemented by the notes of Blade Runner and Frankenstein.

Still, it’s a mixed bag. The scenes of characters chatting hold more interest than the action sequences, which feel a little perfunctory, remixing bits of previous movies with little impact, and are too dark to really appreciate (though I should withhold judgement on that last point, because they looked gloomier in the film than they did in the trailer, so perhaps it was just my cinema?) There’d be no shame in Covenant working as just an action and/or horror movie, if well made — that’s what the films that originated this franchise are, after all — but Scott is interested in exploring something more profound. The problem is that the attempted profundity comes from characters standing around and explaining the plot and/or themes to each other. It’s further undermined by slightly sloppy construction, one that places a key flashback at entirely the wrong moment (coming much earlier than it should, thereby spoiling a later reveal), and a last-minute twist that will be easily guessable to anyone who’s ever seen another movie.

In space, no one can see you look worried...

Worst of all, however, is that this film just didn’t need to be made. As with Prometheus before it, do we want to know where the eponymous beasties come from? It ruins some of their mystique, especially as the answers feel oddly mundane. This is not something further films are going to fix, either; though at this point they may as well keep going until things join up properly to the original Alien, because hey, why not?

Alien: Covenant is better than Prometheus because at least the character don’t act like total imbeciles who should know better. On the other hand, it’s worse than Prometheus because it scrubs out any ambiguity that film left about the Xenomorphs’ origins. Sometimes a mystery is better than an answer.

3 out of 5

Alien: Covenant is out in the half the world (including the UK) now, and is released in the other half (including the US) from tomorrow.

Prometheus 3D (2012)

Rewatchathon 2017 #10
Ridley Scott | 124 mins | Blu-ray | 2.40:1 | USA & UK / English | 15 / R

Prometheus 3D

80 years in the future, a starmap found in some caveman paintings provokes a trillion-dollar mission to the other side of the universe so that the world’s stupidest scientists can (spoilers!) get themselves killed.

It is, by complete coincidence, 4½ years to the day since I first and last watched Prometheus, and this revisit has of course been inspired by its just-released follow-up, Prometheus 2: Extraterrestrial Boogaloo Alien: Covenant, which I’m seeing tomorrow. Frankly, most of my original thoughts on the film still stand. To summarise: it has some really good bits, but then it stops making sense and turns into a braindead blockbuster that doesn’t bother to properly explain its own plot, never mind the potentially-interesting sci-fi ideas it initiated early on. Apparently the Blu-ray’s deleted scenes do clarify some of the plot holes and gaps in character motivation, but other stuff is just plain stupidity on the part of the characters. Or, rather, the writers. Well, one of the writers, at least.

But despite my basic opinion not changing, I’m posting about Prometheus again because this was the first time I watched it in 3D. Hailing from those brief couple of years where the term “post-conversion” was blasphemous, Prometheus was genuinely shot in 3D — and, however good post-conversion has become since then, I think parts of this film make a case for why doing things properly is still best. But I’ll come to that.

Building busy bridges

In general, Ridley Scott’s 3D mise en scène is exemplary, almost always placing objects and characters at various distances from the camera to emphasise and clarify the sense of depth. The busy layout of the Prometheus’ bridge helps this no end, making scenes set there some of the clearest examples. Even on less populous sets, Scott finds angles and compositions that offer nice dimensionality without slipping into being a vacuous 3D showcase. He frequently uses glass to good effect, creating an obvious separation between the clear material — be it a window, a spacesuit helmet, or a sleeping pod — and what’s on the other side, almost casually adding extra layers to any shot they appear in.

In terms of show-off effects, Scott never breaks the ‘window’ of the screen by having things poke out at the viewer, but there are still scenes where the extra dimension is really felt. The storm sequences are a perfect example, with bits of debris flying around all over the place. In-film computer elements like holograms or displays have their own shapely presence in front of, around, and distinct from the physical world they’re part of, making them seem all the more real. Perhaps most of all, the room-filling Engineer star chart David discovers looks great in 3D. My memory of it from the 2D version is an indecipherable array of lights filling the screen, which is probably because it was all perfectly in focus for the sake of the 3D. With that extra dimension, it looks like something worth marvelling at.

Maps to the stars

Having been shot ‘for real’, the 3D just gives everything, even dialogue scenes, a sense of space and distance. You can appreciate the gap between someone’s head and the neck-back of their spacesuit; or, in close-ups, the distinct (but not in-your-face) distance between someone’s nose and eyes and hair. Perhaps the most impressive element are textures, like the hieroglyphs David finds cut into rock, or even characters’ skin — at times you can ‘feel’ its surface, its pockmarks and pores. However good post conversions are, I’m not sure they’re ever that thorough!

Watching in 3D is never going to gloss over Prometheus’ more fundamental flaws — it’s never going to make up for issues with the screenplay or the edit (that said, I’ve heard it makes Transformers 4 considerably more entertaining, so maybe “never” is too strong a word). What you do get is a sense that effort was made to make the 3D experience worthwhile. It may be an inessential component of the movie (a virtual necessity when there will always be people watching in 2D, of course), but it’s one that nonetheless adds an appreciable extra dimension.

3 out of 5

Alien: Covenant is out in the half the world (including the UK) now, and is released in the other half (including the US) from Thursday.