Yet the callbacks and references start to stack up, to Alien, Cameron’s Aliens, to Scott’s 2012 prequel Prometheus, and even to the 2014 game Alien: Isolation.
While Scott originated the space-thriller saga back in 1979, then returned to it with 2012's Prometheus and 2017's Alien: Covenant, now Evil Dead, Don't Breathe and The Girl in the Spider's Web filmmaker Fede Álvarez is on helming duties — clearly taking his cues from Scott's work, though, right down to specific mirrored shots.
Created, shepherded and (mostly) directed by Ridley Scott, the “Alien” films have lately gotten artful and brooding (2012’s “Prometheus” and 2017’s “Alien: Covenant”), with portentous themes and stone-faced performances.
Gone are any pretences regarding attempts to take the concepts further, or to try to ask deeper questions regarding the meaning of creation and life, as Prometheus and Alien: Covenant did.
The closes this comes to doing anything to build out this universe is to include a solitary plot point that attempts to shore up the position of Prometheus (and by extension Alien: Covenant) in the series' lore. Not even to expand on those movies, just to confirm that despite being divisive, they haven't been written out of continuity. Which makes sense, given that those films' director Ridley Scott is still here as a producer.
Scott himself seemed to abandon the sense of awe and meditations on mortality of Prometheus when he served up more conventional xenomorph action in the subsequent Alien: Covenant, which felt less like an artistic decision and more an obligatory one.