Alien: Covenant
Alien: Covenant
6.465%55%
The crew of a colony ship, bound for a remote planet, discover an uncharted paradise with a threat beyond their imagination, and must attempt a harrowing escape.
HaHaHarvey44 reviewedMay 28, 2025
Covenant is a film of dualities, both a return to the franchise’s horror roots and an ambitious philosophical inquiry into creation, identity, and the perils of unchecked ambition. It walks a tightrope between the visceral and the cerebral, delivering grotesque body horror alongside meditations on artificial intelligence and the nature of the soul. The film’s structure mirrors that of its predecessors, yet it introduces variations that deepen its thematic resonance. The film's repetitive structure is a feature, not a bug, akin to the ritualized beats of the “Alien” movies that offer familiar scenarios with new variations.
Michael Fassbender’s dual performance as the androids David and Walter is the film’s linchpin, offering a compelling study in contrasts. David, the artistic and unhinged predecessor, embodies the dangers of creation without conscience, while Walter represents the obedient and emotionally restrained successor. Their interactions, particularly a scene where David teaches Walter to play the flute, are charged with tension and dark humor, showcasing Fassbender’s range and the film’s thematic depth. This dynamic elevates Covenant beyond a mere horror sequel, positioning it as a bridge between the Alien franchise and the philosophical inquiries of Blade Runner.
Visually, Covenant is a masterclass in atmosphere, with Dariusz Wolski’s cinematography capturing the haunting beauty of alien landscapes and the claustrophobic terror of confined spaces. Jed Kurzel’s score complements the visuals, weaving in motifs from the original Alien to evoke a sense of continuity and dread. While some may critique the film for its characters’ illogical decisions, a common trope in horror, the film operates on a dreamlike logic, where symbolism and thematic exploration take precedence over realism. As Matt Zoller Seitz observed, the film is best appreciated as a “Freudian-Jungian narrative where the thing you fear most is what happens to you."