By Lynn Venhaus

This is an “Alien” built on fan service, from its loop of greatest hits to recycling the original’s most famous lines to repurposing familiar tropes. Face huggers? Chest busters? You got it.

The “Romulus” sequel does feel aimed at young viewers new to the franchise, so if you are a longtime fan seeking something fresh and different, “Romulus” may disappoint.

Since Ridley Scott blazed a trail with his terrifying “Alien” science fiction-action-horror film in 1979, three sequels and two prequels have broadened the franchise built on space travelers’ suspenseful encounters with an extraterrestrial species.

These grotesque ooze-dripping creatures called “Xenomorphs” look like a large head atop a giant insect-reptile hybrid spin on the “Creature from the Black Lagoon,” and they remain as terrifying now as when the original just teased the look as the creepy invader of the Nostromo.

Fun fact: Swiss artist H.R. Giger known for his biomechanical style, created the adult form ‘Alien,’ inspired by his painting “Necronom IV,” and won an Oscar in 1980 for being part of the visual effects team.

The image is still the frightening gold standard. Director Fede Alvarez goes much bigger, ramping up the gore and the goo. He focuses on repetitive graphic depictions of these hostile lifeforms in all their stages of growth, multiplying them, showing their gnarly sharp teeth in close-ups and face-to-face encounters.

Scott returns as a producer, after directing two prequels “Prometheus” (2012) and “Alien: Covenant” (2017), handing off directing duties to Alvarez, who displayed strong horror-genre skills with “Don’t Breathe” (2016) and “Evil Dead” (2013), a remake of Sam Raimi’s classic 1981 film.

Cailee Spaeny

“Romulus” takes place between the original’s time and the 1986 sequel “Aliens,” so it’s about mid-22nd century. The story follows a grungy group of intergalactic colonists who want to raid a space station for valuables, but instead discover it is infested with hideous invasive creatures who begin hunting them. Blood spurts, body parts are severed, and the classic Agatha Christie template “And Then There Were None,” kicks into high gear.

Cinematographer Galo Olivares has created an atmosphere that is dystopian-future bleak, and everything’s grimy and dark – and claustrophobic. The young adults have been working at the Jackson Star Colony Mine, on a planet with no sunlight, and it’s a miserable prison-like existence. No wonder they want to escape for space travel.

You surmise as soon as they enter what they think is an abandoned out-of-service spaceship that it’s a bad idea, and most of these savvy techies/space cowboys will either become a host to the endoparasitoids, or shredded to smithereens, suffering elaborate grisly deaths.

While the visuals dominate, there isn’t much character depth in the screenplay by Alvarez and his “Don’t Breathe” writing partner Rodo Sayagues. Instead, they emphasize scare tactics and dangerous situations that the cast must either flee from or figure out a better way for survival.

The movie takes too long to set up, is confusing, and doesn’t quite know how to stick the landing. So, it’s hard to connect with any of them other than the two leads, Rain (Cailee Spaeny) and Andy (David Jonsson), a synthetic android she considers her brother.

The roles are physically demanding because everyone is in fight and flight mode 24/7 and running a lot. Aileen Wu is Navarro, Spike Fearn is her boyfriend Bjorn, Archie Renaux is Tyler and Isabela Merced is his younger sister Kay. Ian Holm, who was in the first movie as Ash, reappears here digitally as an android, but as Rook (note: Holm died in 2020).

In addition to the life-threatening creatures overwhelming the colonists, we are reminded that the megacorporation Weyland-Yutani Corporation is always up to no good. They care more about profits than people, and have been a manipulative villain thread through the series.

Archie Renaux as Tyler and Cailee Spaeny as Rain.

Spaeny, who made a splash last year as the title role in Sofia Coppola’s “Priscilla” and this year in “Civil War,” is in the Ellen Ripley mold of rising to the occasion and becoming the tough and determined heroine. Rain is resourceful, resilient, and compassionate – all the qualities that make for a good protagonist.

Jonsson, who played Gus in the HBO series “Industry,” has the more nuanced, difficult role, and he stands out as the most compelling – switching personalities from a docile, guileless, glitchy “synth” to a smart android who suspiciously knows more than he divulges.

The third act goes on for far too long, and even though the film is 2 hours, it feels longer. Just when you think it’s over, not so fast, and there is one plot twist that’s not just ridiculous, but disgusting and disturbing.

One of the film’s most admirable qualities is that, like “Godzilla Minus One,” they went old-school with the visual effects. Instead of making mostly a heavy green-screen movie, Alvarez employed members of the special effects crew from the 1986 “Aliens” to work on the creatures. They developed animatronics, miniatures and used ‘a guy in a suit’ wherever possible.

The Alien franchise has also spawned video games, a television show “Alien: Earth,” and a crossover series “Alien vs. Predator,” so its staying power is undeniable.

Buried underneath the repulsive monsters and the gruesome situations is a story that needed further investigation. It would have boosted the likability to provide character backstories, and not just rely on nostalgia for what’s gone on before as the driving force.

“Alien: Romulus” is a 2024 science fiction-actor-horror movie directed by Fede Alvarez and starring Caely Spaeny, David Jonsson, Archie Renaux, Spike Fearn, Isabela Merced, Aileen Wu and Ian Holm. It is rated R for bloody violent content and language, and the runtime is 1 hour, 59 minutes. It opened in theatres Aug. 16. Lynn’s Grade: D.

By Lynn Venhaus
Dumbfounded, I can’t recall a recent movie that is as tone-deaf as “The Greatest Beer Run Ever.”

In 1967, John “Chickie” Donohue decides to track down his friends fighting in Vietnam and honor them with a Pabst Blue Ribbon for their service. When the pro-war Merchant Marine is confronted with the horrors of the conflict, he sees that the ‘real’ chaos is different than the ‘public relations’ portrait the powers-at-be are giving to the American people.

Director Peter Farrelly has followed up his Oscar-winning crowd-pleaser “Green Book” with another true story, although this one is harder to make palatable. Somehow, pairing a harrowing war drama with comedic elements doesn’t work, getting more head-scratching as it unfolds in 2 hours, 6 minutes.

This isn’t “M*A*S*H,” not even close. It is also a war depiction that we have seen multiple times, and with a much better story, although I don’t think I’ve ever seen such a dunderheaded protagonist.

Merchant Marine and world-class slacker John “Chickie” Donohue lives in Inwood, a working-class enclave in northern Manhattan. Without thinking, he agrees to a scheme suggested by bar owner “The Colonel,” a World War II veteran played by Bill Murray.

The bar crowd at Doc Fiddler’s Tavern is pro-war, this being early in the escalation, and everyone’s dad or grandad fought in World War II, aka “The Good War.”

So, when The Colonel says he’d like to send the guys serving in ‘Nam a beer to thank them for their service, Chickie volunteers: “I could do that.”

Well, nobody thinks he can, so he doubles-down. Zac Efron’s grown on me as an actor, but he can’t make such an idiot, with far too much hubris, that likeable. He thinks he will just hitch-hike through enemy territory handing out beers on the front lines.

And when did New York accents sound like Boston Southees?

His duffle bag of beer seems to have an unlimited supply of warm, maybe stale, Pabst Blue Ribbon. As Russell Crowe, playing a war correspondent for Look magazine says: “They have beer here,” Chickie retorts “but not American beer!”

(My Uncle Eddie, a career Air Force officer, was at Tuy Hoa Air Base for a year in 1968, and I know they had beer. He wrote letters home talking about the guys unwinding.)

The soldiers from back home don’t exactly know what to think about this gesture. Some are glad to see him, some think its foolhardy to risk life and limb this way.

Because people think no one would be a tourist in a war zone, guys believe he is a CIA operative, so he gets around using military and media guides to help him.

Along the way, he sees intense action. The tail-end of his visit actually coincides with the Tet Offensive. (Another aside – I had a cousin in the Marines who was killed right before Christmas in 1967. I’m sure he would not have appreciated some lunkhead roaming around where he shouldn’t have been. This movie is rather offensive, I would think, to those who served honorably.)

Chicken comes home a changed man because he learns “war is hell.” He’s seen the guys who love the smell of napalm in the morning. Once a hawk, he starts to understand the anti-war sentiment 

Russell Crowe, Zac Efron

So, that’s the takeaway. He has an epiphany that LBJ, General Westmoreland and others in the government are lying about how well the war is going, which the media keeps pointing out to Chickie over bars in Saigon.

Does he deserve a round of applause, a medal? He not only put himself in harm’s way but endangered his buddies too.

He does tell the barflies that the chaos is not like the previous world war, and they should be more skeptical of what the U.S. brass is telling citizens.

At the end, he doesn’t become a peacenik like his sister Christine (Ruby Ashbourne Serkis), who is seen chanting “Hey, hey LBJ, how many kids did you kill today?” earlier, but they come to an understanding.

Chickie’s harsh lesson is a good thing, and he’s endured the loss of several friends, which does tug at your heart strings — especially the flashbacks in which Will Hockmann plays Tommy, questioning if he did the right thing by signing up. He’s one missing in action early on, and it’s sad. 

The other soldiers – just kids – making an impression are Jack Picking as Rick Duggan and Archie Renaux as Tom Collins.

Crowe lends gravitas as the jaded journalist, but he’s been given the “important” task of being the voice of reason – and he’s not in the film that much (neither is Murray).

Farrelly, in an attempt to have lightning strike twice, debuted this at the Toronto International Film Festival, hoping to be in contention for the Audience Award, just like “Green Book” did. Well, it didn’t win – Spielberg’s semi-autobiographical film “The Fablemans” did. 

The only awards I think this film might be considered for would be The Razzies, which honors the “worst.”

Farrelly’s used to success with low-brow humor, such as “Dumb and Dumber” and “There’s Something About Mary,” but in recent years, he’s moved into more ‘prestige’ picks that seem pretentious.

He stages some harrowing action scenes and shows how a jungle climate threw wrenches into things, as in long slithering insects. 

Cinematographer Sean Porter’s work captures the madness that was an Asian country where you couldn’t tell the enemy from the supporters, and the dangers therein.

Just because this is based on a true story doesn’t mean it’s a sympathetic one to tell. There are so many WTH moments that it becomes painful to slog through. For instance, Chickie is riding in a helicopter. Another man is interrogating a Viet Cong operative. He tosses him out the chopper while The Association’s song “Cherish” plays.

Oh, the irony.

Farrelly co-wrote the script with Brian Hayes Currie and Pete Jones, based on the book by Chickie and J.T. Molloy. Did they not see that Chickie should have ‘read the room’ — or themselves?

The soundtrack is chock-full of groovin’ 60s hits, which is a plus when it’s used in context. But not suitable for a montage of dead soldiers in flag-draped coffins. Not sure it all fits or syncs well to the story, but sometimes it’s on the nose, punctuating a bizarre tale.

This buddy movie is a dud, and can’t quite blend the somber with the silly in an effective way.

“The Greatest Beer Run Ever” is a 2022 war drama-comedy directed by Peter Farrelly and starring Zac Efron, Russell Crowe, Bill Murray, Jack Picking and Will Hockmann. Rated R for language and some war violence. It is in theaters Sept. 30 and streaming on Apple TV+. Lynn’s Grade: C-