Alien Covenant marks the third Alien film directed by Ridley Scott and serves as a prequel to the franchise, following Prometheus. These installments appear to be declining in quality with each release. Prometheus posed numerous questions seeking answers, demonstrating ambition by exploring not only the origin of alien life but also human existence itself. However, the plan to extend these themes across three or four movies warrants some doubt. This endeavor initially began with Damon Lindeloff, the creator of Lost—a series for which many viewers are still awaiting resolution—and his departure left the project in the hands of John Logan, who nevertheless struggles to find substance or avoid clichés that have begun to accumulate like a Xenomorph within John Hurt’s body. The story introduces an entirely new crew aboard the Covenant. They are on a colonial mission when a sudden electrical shock disables the ship, kills the Captain, and claims 47 other lives. Hesitant to return to their hibernation pods for a seven-year journey, the crew responsible for maintaining the vessel instead decides to investigate a distress signal emanating from another planet. This is where Michael Fassbender’s character, David the Android, once again proves to be the most compelling figure in these prequels. His motivations and his self-perception—whether he views himself as human or divine—remain consistently ambiguous, and Fassbender's understated performance lingers in the mind. I also consider Prometheus to be one of the most visually striking films of the last decade, a quality that continues here, from the design of the Covenant ship to the fields of grain and other vegetation eerily covering the otherwise desolate landscape. We are also introduced to the Neo-morph, whose birth mirrors that of its predecessor, appearing somewhat faster but lacking the Venus flytrap tongue and possessing the ability to stand upright like a human—a rather appealing feature. However, at this point it's worth noting that after Aliens, there seemed to be diminishing justification for these sequels. Alien 3 was acceptable, Prometheus felt uncertain depending on what followed, and Alien Resurrection was clearly disappointing. The biggest flaw is the sense of repetition. The plot follows a predictable pattern: a distress call is received, the crew investigates, expendable characters make poor decisions leading to impregnation, someone laments “we never should have come,” and there’s a final alien chase sequence. While the aliens themselves are impressive when they appear, there's considerable downtime between encounters, and a few well-executed kills do not justify a 200 million dollar blockbuster. It is also peculiar that Prometheus devoted significant time to establishing the engineers as creators of humanity, yet here they only receive a brief appearance—a development sure to frustrate those seeking further information about them. The potential for a deeper discussion exists somewhere within this film, but these movies feel so stretched out that when they do manage to address something meaningful, it’s difficult to re-engage. The characters also fall short, largely resembling archetypes. Katherine Waterston portrays the Captain's widow and acts as a less expensive version of Ellen Ripley. Billy Crudup embodies a faith-based character, and like the previous film, this installment includes that element without truly integrating it into any meaningful exploration of life’s purpose. At least those two characters have some background; I am weary of most of the others—those who simply wander through an alien wilderness or demonstrate decision-making skills akin to those of the Trump administration. The goal should not be to make viewers root for the aliens. Ultimately, I remain unclear as to why these movies are necessary. It’s easy to discern what this film intends to accomplish, and even easier to anticipate the plot twist well in advance. There are a few satisfying kills, which I will concede, and if you can remember to rouse yourself for the philosophical conversations between Fassbender (playing David) and his counterpart Walter, you might discover some interesting elements. Overall, however, there isn't enough action or intellectual depth to justify this protracted series. I give it a 5/10. For more reviews, please visit my YouTube channel at https://www.youtube.com/channel/UCY_IvAm1bJADConJhDCuq6A

Source on TMDB