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Enois Duarte. In fact, Jerry Goldsmith's creepily thematic score is repurposed in this production as a haunting motif suggesting the direction of this particular script.

The filmmakers are correcting the disastrous collision course of the previous installment and are finally steering it on track to dock with the familiar, much-preferred storyline that introduced moviegoers to the lethal Xenomorph monster and the iconic heroine Ellen Ripley.

This again is where the title change plays a significant role, as the plot feels more like a return to the franchise's traditional horror thriller roots rather than some absurdly heavy-handed pursuit for humanity's creator.

By no means is this a great film. However, it is good filmmaking that vastly improves on its predecessor by simply being entertaining while adding an arguably satisfying twist to the alien's genesis.

Of course, this will be disputed among those who appreciated the lofty goals of Jon Spaihts and Damon Lindelof's screenplay, likely feeling betrayed by a sequel that basically asks viewers to pretty much scrap the events of the first movie.

And in many ways, it does. Rather than continuing on Elizabeth Shaw's obsessed spiritual quest with the coldly indifferent android David Michael Fassbender , fans are made to focus on the crew of the Covenant en route to colonize the remote habitable planet Origae And this is one of the better aspects because these aren't scientists gloating their particular area of study while making really stupid mistakes.

They are the ship's crew, regular people with believable faults, with only one responsibility but sidetracked with investigating a faint distress call, a decision made by the visibly afflicted first mate Chris Oram Billy Crudup , the new captain after an accident killed his predecessor.

This generates tensions with the rest, especially the newly widowed Janet Daniels Katherine Waterston. Stupidity abounds, for sure, which is an inherent necessity for horror, but at least, it's not caused by people who should know better.

Granted, a few are experts of something, but their shared undertaking unites them to a more poignant purpose, one that's been impeded by a neutrino burst, damaging the ship and risking the lives of over two thousand colonists.

This is what leads them to explore a remote but potentially habitable alternative. The whole thing feels vaguely familiar, as though audiences have taken similar steps towards to a horrible doom some thirty-eight years ago.

Only, the filmmakers have added the awkwardly mawkish device of making the entire crew married to one another, which feels both clumsily forced and cheap to gain sympathies as well as unnecessarily weird.

Distancing itself further from the first prequel, the film is significantly more violent and gorier, relying more on scares than nonsensical moralizing outside of David and Walter.

And this is sure to please horror-hounds, a return to the franchise's genre roots, keeping the plot simple as a straightforward creature-feature.

At startup, the UHD goes straight to an interactive main menu screen with full-motion clips, the usual options along the bottom and music playing in the background.

Although not a drastic upgrade from its day-and-date Blu-ray counterpart, the UHD is a notable improvement that better captures the darkly atmospheric palette of cinematographer Dariusz Wolski, and it often looks beautiful.

Shot entirely on the Arri Alexa cameras, capable of up to 4K resolution but later mastered in a 2K digital intermediate, the freshly-minted digital transfer retains the creepy textured and heavily stylized photography and even improves on it in a few areas.

Brightness levels deliver richer, velvety blacks, immersing the character's and David's temple lair in pitch-black shadows penetrating deep into the screen.

However, this also appears to be at the expense of the finer background details where a bit of the production design tends to be lost the darkest portions of the screen.

On the other hand, the picture shows excellent gradational differences during many poorly-lit sequences, adding a bit of depth and distance to a few key moments.

Thankfully, this isn't a consistent problem, as there remains plenty to see throughout. Submissions restricted. Get an ad-free experience with special benefits, and directly support Reddit.

Welcome to Reddit, the front page of the internet. Become a Redditor and join one of thousands of communities. With pilot Tennessee maintaining Covenant in orbit, his wife Maggie flies a small lander to the Earth-like planet's surface, where an expedition team tracks the transmission's signal to a crashed alien ship.

Crewmates Ledward and Hallett are infected by spores from fungus-like organisms. Oram's wife Karine helps the increasingly ill Ledward back to the lander, where Maggie quarantines them inside the med-bay.

A small pale alien creature neomorph bursts from Ledward's back, killing him, and then mauls Karine to death. Maggie returns and attempts to kill the creature with a shotgun, but triggers an explosion which kills her and destroys the lander.

Nearby in the fields, another neomorph bursts from Hallett's mouth, killing him. The neomorphs attack the remaining crew, killing crew member Ankor.

The crew manages to kill one before David, who survived the Prometheus mission, appears and scares off the neomorph. He leads the crew to a temple in a city full of dead humanoids.

David tells them that upon his and fellow Prometheus survivor Elizabeth Shaw's arrival at the planet, their ship accidentally released a virus which annihilated all fauna on the planet, and that Shaw perished when the ship crashed.

Meanwhile, attempts to radio the Covenant are stymied by ion storms. When the remaining neomorph infiltrates the temple and kills crew member Rosenthal, David tries to communicate with the creature, and is horrified when Oram kills it.

Oram questions David, who reveals that the Aliens are a result of his releasing and experimenting with the pathogen to produce new lifeforms.

He manipulates Oram into being attacked by a Facehugger Alien. A new form of Alien, the Xenomorph, later erupts from Oram's chest, killing him.

As the others search for Oram and Rosenthal, Walter finds Shaw's dissected corpse, used by David as material for his evolving creature designs.

David states that humanity is a dying and unworthy species, and his designed creature is a "perfect organism" set to eradicate them.

When Walter disagrees, David disables him, then threatens Daniels. Walter's advanced systems self-repair, and he attacks David while Daniels escapes.

Crewmate Cole quickly cuts another facehugger off security chief Dan Lope, leaving Lope with acid burns on his face.

The now fully grown xenomorph kills Cole, while Lope escapes and meets up with Daniels. Tennessee arrives in another lander to extract Daniels, Lope, and Walter, who says David has "expired".

They kill the attacking xenomorph and return to Covenant. The next morning, Daniels and Tennessee discover that another xenomorph burst from Lope's chest, killing him, and is loose on the Covenant.

It matures, and kills crew members Upworth and her husband Ricks. Final crew members Tennessee and Daniels lure the creature into Covenant ' s terraforming bay and kill it.

Covenant resumes its voyage to Origae As Walter helps Daniels into stasis, she realizes that Walter is in fact David, but is unable to escape from her pod before falling asleep.

David regurgitates two facehugger embryos and places them in cold storage with the human embryos.

He poses as Walter to record a log stating that all crewmembers except Daniels and Tennessee were killed by the solar flare incident at the beginning of the film and that the ship is still on course for Origae A number of actors appear in uncredited roles.

James Franco appears onscreen in photos and a video as Jacob Branson, the original captain of the Covenant and husband of Daniels; he also appears in deleted scenes.

Elizabeth Shaw as a member of the destroyed Prometheus in the prequel film, and appeared in a short promotional prologue to Covenant that was set in the period between the two movies, [21] but does not act in the final cut of the movie itself, though her voice is heard from the planet early in the film and her image and voice appear later.

Logan Marshall-Green 's character Charlie Holloway , also from Prometheus , also appears in an archive image alongside Shaw. Other credited parts include Lorelei King as the voice of the Covenant 's computer "Mother"; King was a colleague of Helen Horton , the voice of the Nostromo 's "Mother" in 's Alien.

Kleut is credited in two roles, as both a neomorph and a xenomorph, [23] while Andrew Crawford is credited as a neomorph.

In , prior to the release of Prometheus , director Ridley Scott began hinting at the prospects of a sequel.

Paradise has a connotation of being extremely sinister and ominous. At the same time, I do feel like the movie might benefit from a fresh voice or a fresh take or a fresh thought.

He has no respect for Engineers and no respect for human beings. The initial screenplay was written by Transcendence screenwriter Jack Paglen in June Logan had previously worked with Scott on Gladiator.

For Logan, the main concept was to adopt a dual plot line for the film which would combine the horror elements of Alien with the philosophical elements of Prometheus.

He said, "With Alien: Covenant , I just really wanted to write something that had the feel of the original Alien , because seeing that movie was one of the great events of my youth.

It was so overpowering in terms of what it communicated to me and its implications, that when I started talking to Ridley about what became Alien: Covenant , I said, 'You know, that was a hell of a scary movie.

We tried to recapture that with Alien: Covenant , while also trying to pay homage to the deeper implications of Prometheus.

In terms of tone, pace, and how we chose to play this particular symphony, we wanted to create a really frightening movie.

In late August , Scott confirmed that he had started scouting locations for the film. In August , it was announced that the film would star Rapace and Fassbender, while Rik Barnett was in talks to join the cast.

Dariusz Wolski , longtime collaborator with Scott, was confirmed to serve as the film's cinematographer. However, in June, it was announced that Rapace would shoot weeks' worth of scenes though no new footage of hers appeared in the final film.

In an article for Cinemablend from May titled "Mythbusters' Adam Savage Toured The Set Of Alien: Covenant, And It's Wonderful", Connor Schwerdfeger included a five-minute short video of Savage's discussion of several of the props and stage sets used in the production design for the filming of different scenes from the film.

The VFX supervisor Charles Henley summarized the several vendors that were used to support production of the visual special effects seen in the film when the selection process was discussed, stating: "Both history and need guided the decisions on which vendors we used.

There had a been a lot of great digital double and creature work done at MPC on recent projects so there was confidence they should be the lead facility.

Framestore had recently worked with Ridley on space for The Martian , similarly Animal Logic now had the original crew who did the holograms for Prometheus.

Also as we were shooting in Australia there was good reason and incentives to use Australian-based companies and so Luma and Rising Sun came on board.

Effects houses Odd Studios and CreatureNFX provided the film's makeup and animatronic creature effects, respectively, [63] [64] while Australian-based effects house Animal Logic provided the film's digital visual effects.

Pietro Scalia , the editor of the film, spoke of the structural difficulty of integrating the two story lines in the final editing of the film in an interview with the ProVideo Coalition stating: "We moved some pieces around structurally dealing with when do we leave, what action or story beats on the planet and when to go back onto the spaceship.

There were several longer beats between Farris and Tennessee trying to establish communication. Going back and forth too many times tended to make the journey to the Juggernaut and the Engineer's City belabored and tedious.

We combined certain scenes between Farris and Tennessee, eliminated the walking and talking through the forest, getting the ground crew up the mountain quicker.

Later on, after the attack in the Med Bay on the lander, we held back going back to Tennessee, for the part where he says: 'I never heard my wife so scared before', not after her death as scripted but after the second Neomorph birth as to not interrupt the momentum.

The middle part of the film was more challenging after the reveal of David. Once the Covenant story merges with the Prometheus storyline, finding the proper structural order of the scenes proved to be difficult because of the distinctive dynamics of the two story lines in addition to the separation of the two locations of the action.

In one sense, the action, the tension and unfolding drama going from one group to the other had to be balanced and spaced properly as not to lose the connective tissue of the film.

Initially, Harry Gregson-Williams was selected as the film's composer. The film was released in Mainland China on June 16, , but is trimmed by 6 minutes, leaving the film total released length in China at minutes.

It is very likely that the move was due to usual censorship by the State Administration of Press, Publication, Radio, Film and Television , because of the monstrous violence depicted in the movie [83].

Alien: Covenant was released in Japan on September 15, The release of the film was accompanied by a novelization of the film by Alan Dean Foster , who also authored the novelization of the original Alien film from the s.

A second Covenant novel by Foster was initially billed as a book sequel to the film to be released in September , before being revealed as a direct prequel to Covenant under the title Alien: Covenant — Origins.

As the colony ship Covenant prepares for launch, and the final members of the crew are chosen, a series of violent events reveals a conspiracy to sabotage the launch.

Yet the perpetrators remain hidden behind a veil of secrecy. The threat reaches all the way up to Hideo Yutani—the head of the newly merged Weyland-Yutani Corporation—when his daughter is kidnapped.

Is the conspiracy the product of corporate espionage, or is it something even more sinister? The home release includes an audio commentary by the director, and 22 minutes of missing scenes and unused footage from the first cut of the film.

The experience was executive produced by Scott, and directed by David Karlak. Fox released the film in several countries before the United States.

Its overall rank for the weekend was second behind the continued run of Guardians of the Galaxy Vol. The website's critical consensus reads, " Alien: Covenant delivers another satisfying round of close-quarters deep-space terror, even if it doesn't take the saga in any new directions.

Writing for The Guardian , Peter Bradshaw gave the film a positive review, praising the performances of its actors, and comparing it to other entries in the series, stating that Alien: Covenant is "a greatest-hits compilation of the other Alien films' freaky moments.

The paradox is that though you are intended to recognise these touches, you won't really be impressed unless you happen to be seeing them for the first time.

For all this, the film is very capably made, with forceful, potent performances from Waterston and Fassbender.

Geoffrey McNab writing for The Independent found the film to be adequate in presentation and production, though not as strong in its writing, stating that the film "certainly delivers what you'd expect from an Aliens film—spectacle, body horror, strong Ripley -like female protagonists and some astonishing special effects—but there's also a dispiriting sense that the film isn't at all sure of its own identity.

The very portentous screenplay, co-written by John Logan Coriolanus , Skyfall , throws in references to Shelley and Byron, Wagner and Michelangelo, and lots of philosophising about human origins and identity.

In the meantime, the crew members pitted against the monstrous creatures are trying their darndest to blast them to kingdom come, just as they would in any run-of-the-mill sci-fi B movie.

Matt Zoller Seitz of RogerEbert. Daniel Deangelo of StudyBreaks. In New York magazine, David Edelstein commented on David the android as representing a new generation of monster villains in the tradition of Frankenstein , stating: "In Star Trek , that man-machine nexus was Here, there's some doubt about David's ultimate motives, which puts Alien: Covenant squarely in the tradition of the Terminator and Matrix movies.

And, of course, the novel Frankenstein , which carried the subtitle The Modern Prometheus.

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