by Mattie Lucas
Cinema from a Decidedly Queer Perspective
Alien: Romulus | 2024
Taken on its own, Alien: Romulus is a solid film. It is difficult, however, to analyze franchise films like this in a vacuum, especially when this is the seventh film in the venerable Alien series (ninth if you count the Alien vs. Predator films). To paraphrase Kamala Harris, Alien: Romulus exists within the context of all that came before it.
For most of its life, the Cannon Group was a minor studio known for brawny B-movies like Death Wish, Cobra, Missing in Action, and Masters of the Universe. But during the 1980s, under the direction of co-owners Menahem Golan and Yoram Globus, who bought the company in 1979, Cannon also used some of its profits to take chances on risky auteur-driven projects in an attempt to gain some prestige. One such project was Jean-Luc Godard's King Lear, a deal Golan and Globus infamously made with Godard on a napkin at the Cannes Film Festival, where the pair were tenaciously courting filmmakers.