Summary: Colonists find their ship hit by solar winds, leaving their captain toasted and the rest of the crew unwilling to reenter their cryosleep pods lest they befall the same fate. The acting captain, a man who believes his religion makes him untrustworthy in the eyes of the crew a mere 10 years after a devoutly religious person was part of the crew of the most expensive space expedition to that point, gives into popular demand to investigate a much closer, possibly hospitable planet rather than travelling their years long journey to their actual, safe destination. Due to terrible safety protocols, things go wrong.
Let’s get a couple of things out of the way right off the bat:
- Alien: Covenant is not a good film
- Alien: Covenant is not a good Alien film
- I prefer Prometheus to Alien: Covenant
If Prometheus is what happens when you take a slasher film and hurriedly retrofit it into a “thinking person’s science fiction film”, Alien: Covenant is what happens when you go the other way.
Be warned, if you were at all even the slightest bit interested in finding out why the Engineers created us and why they wanted to destroy us, prepare to be disappointed. That plot thread is hurriedly swept aside in a flashback in an attempt to course correct towards being more closely connected with the Alien franchise. But people hated Prometheus! Isn’t a course correction towards the rest of the franchise a good thing? Let’s take a moment to remember what else was part of the Alien franchise:
- Alien 3
- Alien Resurrection
- AVP: R (I don’t remember what the R stood for, but it was probably Requiem or something equally terrible)
And let’s also take this moment to remind ourselves of a slow, ponderous science fiction film that Scott directed that wasn’t looked upon kindly until a few years later:
- Blade Runner
Ultimately, what I am trying to say is that in the grand scheme of things, people don’t know shit; neither the authors, nor the audience.
And that is evident in Alien: Covenant. The ponderous core of Prometheus has been swapped out for that of a sleazy thriller, one that operates in the vague neighbourhood of Alien (complete with a condensed recreation of that first film in what passes for Covenant’s third act) after taking a detour through 80s slasher territory. People do stupid things for the sole purpose of delivering gory kills for the audience to enjoy, there is a lurid sex scene that gets bloodily interrupted, and the alien itself, far from being an unknowable walking metaphor for violation and sexual assault, is nothing but a bad special effect. They even managed to do the alien POV shot worse than it was done in Alien 3. Think on that.
Save for some two scenes of body horror (neither of which entirely approach the heights of the cesarean scene from Prometheus, though the first one gets close), the film is almost always better when the aliens are not on screen. In an Aliens movie. Prometheus at least had the good fortune of being distanced somewhat from Alien so it could be its own weird slow burn thing.
But aside from the aforementioned body horror and some effectively atmospheric gothic production design, Alien: Covenant is a film that puts on a show of being a horror film without actually committing to it. Everything else good about it comes as part of its past life as a Prometheus sequel. And all of its grandiose and “literary” discussions of the relationship between creator and created were better suited by Prometheus’ more consistently considered pacing. Sure, I did not think Prometheus got it right, but it sure as hell was better built to get it right than Alien: Covenant.
The one (two?) saving grace(s) of Alien Covenant is Michael Fassbender. This time playing a new Synthetic named Walter and returning as the creative and unhinged David, Fassbender electrifies the screen with his winning take on the uncanny valley. Affecting an American accent in something of a Lance Henrickson impersonation, Walter is a character that impresses in his coldness and restricted affect. And he is the perfect foil to David, a creature designed with a desire to create and understand. No better is this weird undercurrent of “humanity”, for lack of a better term, seen than in the film’s opening, a prologue introducing us to David’s first few hours. So much of the contempt between creator and created is suggested through reactions and body language as David prods and pokes at Peter Wayland’s insecurities about his mortality to see how far he can push and get away with it.
And then we have the scenes where the two synthetics interact. These sequences are crackling with an uncomfortable yet captivating “Platonic homoeroticism” while the two explore each others boundaries and try to seduce each other to their way of thinking. It really, really makes me wish the movie jettisoned the Alien connection altogether and became its own psychosexual thriller. But the aliens, creatures created out of unconvincing CGI, are the main draw, and Covenant: These Two Gay Robots are Totally Amazing would not a winning investment make.
And so we have part homoerotic thriller, part mad scientist movie (that totally robs the mystery of and defangs the Xenomorph), and part movie that dresses in the discarded skin of a gothic thriller by way of 80s slasher. A movie with no idea what to do with itself for an audience with no idea what is actually good for it. It’s time to put this franchise to bed before anymore damage is done to one of Cinema’s most iconic horror creations.