“In space, no one can hear you scream,” was the tagline of the original “Alien” from 1979, a terrifying thought in many ways.

There may indeed be a scientific reason why a space scream is inaudible, but isn’t it scarier to simply realize that there’s no one there to hear you? That was the case with Sigourney Weaver’s Ripley when she was the last one standing against the terrifying Xenomorph. No one could hear her scream – no one human, that is – because, well, everyone was dead.

In any case, hearing here on Earth will not be a problem in any multiplex showing Alien: Romulus, the long-awaited new installment in the Alien franchise (not a sequel, but we’ll get to that in a minute). This is a very big, very (very!) loud, very scary horror movie, and the screams will come and you will hear them. And that’s exactly what Alien fans are surely waiting for.

And speaking of Ripley, no, neither she (nor Weaver) is in this new version by Fede Álvarez, which hews closer to the horror roots of Ridley Scott’s original than James Cameron’s more action-packed 1986 “Aliens.” But now we have Rain Carradine, played by rising star Cailee Spaeny (“Priscilla”), a new-generation Ripley in every way but name. Spaeny takes on the role of the tough-as-nails space hunter with aplomb and is by far the best part of a film that, like the 1979 original, has little character development.

There are many more parallels (and tongue-in-cheek references) to the original (Scott is a co-producer here). But as I said, don’t call it a sequel. In fact, it’s an “interquel,” which in itself wouldn’t be a bad title for a horror film. The dictionary explains that it’s neither a sequel nor a prequel, but rather a “middlequel” between the parts, known as “quels.”

Just kidding! That’s not in the dictionary. But it’s worth noting that by placing his film between existing releases to form a new trilogy, while also aiming for standalone entertainment, Álvarez risks a certain tonal confusion. Not that you’ll be able to hear your thoughts if that occurs to you.

The premise is somewhat new. Álvarez, who co-wrote the screenplay with Rodo Sayagues, said he got the idea from a deleted scene from Cameron’s film in which young children among the workers of a mining colony are seen wondering what their lives would be like when they were 20.

Right from the start we discover that life in the colony on Jackson’s Star, which belongs to the worker-exploiting company Weyland-Yutani, is indeed bleak.

Rain’s parents, miners, have died of lung disease, leaving her with a caring brother named Andy, who is actually a “synthetic” or humanoid robot. The “human” element is crucial because it allows the sensitive David Jonsson in the role to connect with the audience in a way that only Spaeny can – the rest of the cast is given virtually nothing to work with.

In any case, the two of them won’t be staying on Jackson’s Star for much longer. After Rain is denied permission to finally escape the gloomy life in the colony, they embark on a risky venture with Andy.

A (seemingly) defunct space station hovers above them, and if they can rob it of hardware and other loot, they can bypass the brutal wait for permits and finally find a new home. And so the two reluctantly agree to join the others – Rain’s ex-boyfriend Tyler (Archie Renaux), his sister Kay (Isabela Merced), Bjorn (Spike Fearn) and Navarro (Aileen Wu) – on a bumpy flight to Renaissance Station.

We’re certainly not giving too much away when we say that it’s best not to commit to anyone.

Because we all know what awaits us up there, don’t we? It was already hinted at in the opening credits, with the rickety old station looking very similar to the ill-fated space tug USCSS Nostromo from the original.

We hardly needed that hint, though. This is an “Alien” movie, and it’s about the Xenomorph, that terrifying creature that is devilishly “perfect,” able to survive in any atmosphere, and, apparently, reproduce in the most disgusting ways.

It’s not a real party – or a movie – until the creatures show up. And they do. There’s been a lot of talk about the use of practical effects in this film, rather than a CGI universe. The actors said this – as well as the linear shooting – helped them feel the real horror they needed for their portrayals.

Does all this set the film apart from its predecessors? As with so many franchises that rely on intense fandom, it really depends on what perspective you’re coming in from. Fans of the original will appreciate the many respectful nods to that film (and perhaps the fact that, thank goodness, there’s no more unnecessary skimpy panties scene). Fans of Cameron’s version will appreciate the action that comes later in the film.

And while some will applaud the wild, outlandish, creative and possibly ridiculous twist on those final minutes – without wanting to spoil the suspense – others may laugh rather than scream.

But it’s all good. In space, no one will probably be able to hear you laugh.

“Alien: Romulus,” a 20th-Century Studios release, is rated R by the Motion Picture Association “for bloody violence and language.” Running time: 119 minutes. Two out of four stars.

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