Ah, the “Alien” franchise—Hollywood’s favorite sci-fi horror series that refuses to stay dead. Much like the resilient Xenomorphs themselves, this franchise keeps popping back up, no matter how many times you think it’s been exterminated. And now, because apparently, we haven’t suffered enough, we have “Alien: Romulus” on the horizon. Yes, that’s right, another sequel/prequel/reboot/whatever-they’re-calling-it-these-days is coming, to remind us why the original 1979 masterpiece was perfect—and why everything that followed was a relentless exercise in diminishing returns.

Let’s take a walk down memory lane, shall we? But be warned: it’s a bumpy ride through chest-bursting nostalgia, cinematic brilliance, and enough questionable decisions to make even the most ardent fan consider calling it quits.

The Glorious Beginning: “Alien” (1979)

Before we dive into the mess, let’s pay our respects to Ridley Scott’s 1979 classic. “Alien” is a film that needs no introduction—unless, of course, you’ve been living under a rock, in which case, welcome to Earth! A perfect blend of horror and science fiction, the original “Alien” introduced us to the nightmarish Xenomorphs, the concept of space being terrifyingly quiet, and a heroine for the ages, Ellen Ripley.

With its slow-burn tension, iconic creature design by H.R. Giger, and claustrophobic atmosphere, “Alien” set a high bar that every other film in the franchise has attempted (and mostly failed) to reach. It’s a true classic that should have been left alone to bask in its well-deserved glory. But no, Hollywood saw a cash cow and just had to milk it.

The Action-Packed Sequel: “Aliens” (1986)

Then came James Cameron’s “Aliens” in 1986—a sequel that managed the impossible: being as good as the original, but in a totally different way. “Aliens” took the horror of the first film and injected it with adrenaline, turning it into one of the greatest action movies of all time. Ripley came back stronger, meaner, and with a big ol’ gun. Game over, man, game over! Cameron knew exactly what he was doing, balancing the suspense and action, and giving us a finale that still has us cheering for the power-loader fight.

This was the last time the franchise would enjoy universal praise. If only the Xenomorphs had just stayed on LV-426 and not found their way into the hands of increasingly desperate filmmakers.

The Downward Spiral: “Alien 3” (1992) and “Alien: Resurrection” (1997)

And then things got… weird. “Alien 3” arrived in 1992, effectively saying, “Remember all the good vibes from ‘Aliens’? Forget all that.” It killed off beloved characters in the first few minutes, set the action in a bleak prison planet, and gave us an ending that felt more like a franchise suicide note than a conclusion. David Fincher did his best, but between studio interference and a script that was as messy as a facehugger party, it’s no wonder “Alien 3” is the film everyone pretends doesn’t exist.

But wait, there’s more! “Alien: Resurrection” (1997) took that “what could possibly go wrong?” approach and doubled down. Cloning Ripley? Sure, why not. A half-human, half-Xenomorph hybrid that looks like a rejected Halloween mask? Of course! Directed by Jean-Pierre Jeunet, the film embraced absurdity, which would have been fine—if it was, you know, good. Instead, we got a strange, disjointed mess that was neither scary nor thrilling, but hey, at least Sigourney Weaver got to dunk on some aliens again, right?

The Spin-Off Fiascos: “AVP: Alien vs. Predator” (2004) and “AVPR: Aliens vs. Predator – Requiem” (2007)

Just when you thought it couldn’t get any worse, they went and mashed up “Alien” with “Predator” in 2004’s “AVP: Alien vs. Predator”. It was the crossover that nobody asked for, executed with all the finesse of a facehugger in a china shop. Ridley Scott and James Cameron reportedly called the film “dreadful,” which is putting it kindly. The story was nonsensical, the scares were nonexistent, and the Xenomorphs were reduced to glorified cannon fodder.

Then, in 2007, the filmmakers clearly thought, “Hey, if people hated AVP, let’s give them something worse!” Enter “AVPR: Aliens vs. Predator – Requiem”, a film so dark (literally and figuratively) that you’d need night-vision goggles just to see what’s going on. Spoiler: Not much. Both films managed to take two of cinema’s most iconic monsters and turn them into punchlines.

The Prequel Confusion: “Prometheus” (2012) and “Alien: Covenant” (2017)

After that detour into absurdity, Ridley Scott returned to the helm with “Prometheus” (2012), a prequel that wasn’t really a prequel but actually was… or something. It asked big questions about creation, existence, and whether or not anyone could tell a coherent story anymore. “Prometheus” was visually stunning but made about as much sense as asking a Xenomorph for directions.

“Alien: Covenant” (2017) tried to bridge the gap between “Prometheus” and “Alien”, and ended up pleasing no one. It doubled down on the confusing mythology, added some new twists that no one asked for, and killed off pretty much everyone in sight. The only thing it managed to prove is that the best days of the “Alien” franchise are well behind it.

“Alien: Romulus” – Is There Any Hope Left?

Which brings us to “Alien: Romulus”, the latest attempt to revive a franchise that’s been on life support for over two decades. As of now, the plot details are being kept tightly under wraps, which is probably a good thing considering the franchise’s recent history. The film is directed by Fede Álvarez, best known for his work on the 2013 “Evil Dead” remake and the surprisingly solid thriller “Don’t Breathe”. So, there’s a glimmer of hope that he can bring something fresh to the table—or at the very least, not serve up another reheated dish of mediocrity.

Rumor has it that “Romulus” will focus on a group of young people stranded on a distant world—a plot that sounds eerily similar to “Alien: Covenant”, but hey, maybe this time they’ll manage to avoid making every character as intelligent as a rock. The film is said to take a more grounded approach, leaning into the horror elements that made the original film so effective. Of course, we’ve heard this before, so pardon me if I’m not holding my breath.

The choice of Álvarez is intriguing because he’s known for his ability to build tension and deliver genuine scares, which the franchise desperately needs after the convoluted mess that was “Covenant”. There’s also a sense that the filmmakers are trying to steer clear of the tangled mythology introduced in “Prometheus” and “Covenant”, which would be a welcome relief. But at this point, one has to wonder if there’s anything left to say in this universe that hasn’t already been said—badly.

If “Alien: Romulus” somehow manages to surprise us all and deliver a film worthy of the original’s legacy, it would be nothing short of a miracle. But given the franchise’s recent track record, it’s hard not to approach this with a heavy dose of skepticism. The “Alien” series has been dragged through the mud so many times that it’s become almost impossible to see the shiny, terrifying masterpiece that it once was.

Will “Alien: Romulus” finally give the Xenomorphs the swan song they deserve, or will it be just another forgettable entry in a series that has long outstayed its welcome? If the latter, we can only hope Hollywood finally lets this franchise rest in peace—before it’s too late for even a Ripley clone to save it.

For now, all we can do is wait and see if “Alien: Romulus” can rise from the ashes of its predecessors, or if it’ll just be another nail in the coffin for a franchise that was once the pinnacle of sci-fi horror. Fingers crossed, but I’m not betting on it.