Directed by: Ridley Scott

Starring: Michael Fassbender, Katherine Waterston, Billy Cudrup, Danny McBride, Demián Bichir, Carmen Ejogo, Amy Seimetz

Plot: The crew of the colony ship Covenant, bound for a remote planet on the far side of the galaxy, discovers what they think is an uncharted paradise, but it’s actually a dark, dangerous world. When they uncover a threat beyond their imagination, they must attempt a harrowing escape. The crew encounter the planet’s lone inhabitant, the android David (Fassbender) sole survivor of the Prometheus expedition. But is he a friend? Or could he be worse than the horrors they are escaping?

Alien: Covenant is a strangely titled film. Its title seems to suggest this film will adhere closer to the franchise roots yet in practice the film is more a sequel to prequel/spin-off Prometheus than anything else. While this isn’t inherently a bad thing, it might be best for one to temper their expectations when embarking on this entry. Not to say there isn’t lots of Xenomorph action, there’s plenty, but the film does also continue the story Ridley Scott began back in 2012.

But that doesn’t mean to say the film answers all of Prometheus’s lingering questions. The true motives of the Engineers are, for now, still a mystery. The answer of what happened to Elizabeth Shaw (Noomi Rapace) is shocking and horrific, yet also serves as a way to close the book on that story. For now at least, the mystery of the Engineers will remain just that. Instead, Covenant feels more like a course alteration; for the first time in decades, it feels there’s a definite plan for the future of the franchise. With Scott planning at least two more films (with Scott confirming one of them will lead directly into Alien), perhaps it’s a good thing the answers aren’t coming now. For only an unskilled storyteller would reveal all their mysteries in one go. This film is content with peeling back the layer of mystery just a little, to give us a glimpse of how horror’s most iconic intergalactic killers came to be.

Various Alien sequels all attempted to do various things with the creatures, yet if Covenant proves one thing it’s that no one tops the master. The Xenomorphs, here with several new variants such as Neomorphs, are once again frightening. Teaching a lesson to all the Alien wannabes out there (such as Life released a few months back), Scott takes a masterful touch to the body horror we all know and love. For without a doubt this is the goriest of the Alien films. From a scene early one where one of the creatures decides to burst from the host’s back rather than the chest, you know this is going to be something different.

So it’s in fact surprising the creatures don’t get as much screen time as you’d think. Not to say the creatures feel underused, but they play second fiddle to various other aspects of the film. But when the creatures are the focus, they’re a joy to watch on screen. It’s been so long since we’ve seen the Xenomorphs in action on the big screen (not counting the dismal Alien vs Predator films), that every second they’re on screen is a blast. Hopefully we’ll be seeing plenty more of them to come.

But ultimately, the creatures are surprisingly not the main draw here. The main draw for certain is Michael Fassbender’s David. David was the best thing about Prometheus and the same is true here. David, in his years of isolation, has apparently developed a bit of a god complex and it’s the scenes David shares with fellow android Walter (also played by Fassbender) that emerge as the strongest in the film, including a rather surreal moment where David kisses his counterpart. As David slowly tries to corrupt Walter to his way of thinking, the audience is forced to ask themselves; is David just a robot who’s gone a bit mad or has he actually developed his own being, his own purpose? At what point does David stop being a robot and start being a person? For, like Pinocchio, David no longer has any strings holding him down and is a “real boy”. All these questions and ideas are so interesting, that one almost wishes there were less Xenomorphs and more David.

Katherine Waterston meanwhile shines as Daniels, this film’s Ripley stand-in. Daniels is more emotionally vulnerable than Ripley, leading to a great contrast between the two. Waterston calls to mind Ripley from the original film, inexperienced, scared and fighting for her life. Daniels is a very capable protagonist and one very easy for audiences to root for. If Waterston doesn’t return for Covenant’s sequel, it will be a wasted opportunity.

Another emboldening aspect is just how gorgeous the film looks. From the New Zealand location shots to the gorgeous sets of a destroyed Engineer settlement to the grungy hallways of the Covenant (which bring to mind the industrial feel of the Nostromo from the original), every set is packed with detail and beauty. While the film doesn’t play on colour all that much (a definite attempt to tone the colours down as much as possible is apparent) it doesn’t stop the film itself from looking beautiful. After seeing the film, I understand why the decision was made to release a horror film in IMAX. Because the film deserves it. Hopefully a HDR colour grade on the UHD Blu-Ray release will make the film pop even more.

Special mention must also go to the film’s sound mix. Like any good horror film, sound is an essential tool of the film. It provides an envelopment experience that can’t help but draw you in. Jed Kurzel’s score is also a high point, especially for nods to Jerry Goldsmith’s original score for Alien.

Alien: Covenant then is not only a worthy entry in the franchise, it’s one of the best. Outshining Alien 3 and Alien: Resurrection, Covenant takes its rightful place as the true next instalment in the Alien series. Following Prometheus of course. Beautiful, disgusting, terrifying and shocking all at the same time, Alien: Covenant emerges as one of the strongest films of the year so far and, perhaps, of the summer season overall. I look forward to seeing how Scott shepherds the franchise onwards over the next two films.

9/10