Xeno – Film Review

Matthew Loren Oates’ Xeno is a film that wears its influences on its sleeve. Directed, written, produced, and edited by Oates, the film feels like both an homage to and reimagining of the classic “child befriends alien” subgenre of science fiction cinema. With echoes of Steven Spielberg’s E.T. the Extra-Terrestrial and Travis Knight’s Bumblebee, Xeno treads well-worn territory. Yet, thanks to strong performances, a warm atmosphere, and striking desert cinematography, it manages to find its own voice—though it never fully escapes the shadow of the films that inspired it.

The premise is straightforward: a teenage girl, Renee (played by Lulu Wilson), lives with her mother, Linda (Wrenn Schmidt), and father, Chase (Paul Schneider) in a quiet desert town. One night, she stumbles upon the wreckage of a spaceship and discovers an alien survivor. Unlike the wide-eyed, childlike creature of E.T., or the transforming robot of Bumblebee, this alien is portrayed as both mysterious and unpredictable, capable of power that Renee doesn’t fully understand. Their bond grows quickly, and soon Renee finds herself caught between her responsibility to protect her new friend and the looming threat of government agents led by the steely Agent Browne (Josh Cooke). With the help of her loyal friend Gil (Trae Romano), Renee uncovers secrets that tie the alien’s plight to the fate of Earth itself.

The story feels instantly recognizable, with beats and emotional arcs that mirror those of Spielberg’s 1982 masterpiece and Paramount’s recent Bumblebee. A young protagonist forms a protective bond with an outsider creature, government agents become antagonists, and the climax hinges on trust, sacrifice, and interspecies friendship. For audiences familiar with these tropes, much of Xeno can feel predictable. Still, the film attempts to differentiate itself by making the alien more volatile and less innately cuddly, giving Renee a greater challenge in navigating their relationship.

If Xeno works as well as it does, much of the credit goes to its cast. Lulu Wilson shines as Renee, delivering a performance that balances youthful wonder with grit and determination. Wilson has proven herself in previous genre films (Ouija: Origin of Evil, Annabelle: Creation), and here she carries the emotional weight of the film with ease. Her chemistry with the alien is surprisingly convincing. She portrays both fear and compassion in ways that make Renee’s bond with the creature believable, even when the script leans heavily into familiar territory.

Wrenn Schmidt and Paul Schneider bring a strong presence to their roles as Renee’s parents. Schmidt, in particular, delivers a layered performance as Linda, a mother torn between protecting her daughter and fearing what the alien might bring into their lives. Schneider, as Chase, has fewer standout moments but still adds a grounded presence. Trae Romano’s Gil provides lighthearted banter and a sense of youthful camaraderie, ensuring Renee isn’t isolated in her quest. Josh Cooke, meanwhile, plays Agent Browne with the right balance of menace and officiousness, though his role veers toward cliché.

One of Xeno’s most appealing qualities is the sense of comfort it provides. Oates crafts a world that feels inviting despite the danger lurking within the story. The desert town setting, combined with the familial focus, makes the film feel safe and nostalgic in a way that echoes classic ‘80s and ‘90s family adventures. The film seems designed to be accessible for both younger viewers discovering the genre for the first time and older audiences who may be seeking the cozy familiarity of a childhood favorite.

There’s an undeniable warmth to the film, particularly in how it frames Renee’s relationship with her parents and her loyalty to her friend Gil. While the alien storyline dominates, Xeno never loses sight of its human characters, which keeps the stakes personal and emotionally grounded.

Visually, the film is often striking. Oates and his cinematographer Paul Marschall make strong use of the desert landscapes, capturing wide, sun-soaked vistas that emphasize both the isolation and wonder of Renee’s discovery. At night, the film takes on a more mysterious tone, with the crash site illuminated in moody blues and silvers that highlight the alien’s otherworldly nature. The contrast between day and night sequences mirrors Renee’s emotional journey, shifting from curiosity to tension as government forces close in.

The cinematography also leans into visual metaphors, using wide shots to emphasize Renee’s smallness against both the desert and the enormity of her responsibility. These moments, though occasionally heavy-handed, lend the film a polish that elevates it above some of its narrative shortcomings.

The biggest drawback of Xeno is its lack of originality. For all its competence in execution, the story feels almost too familiar. Viewers will immediately recall E.T. in the central premise of a child protecting an alien from government capture. The parallels with Bumblebee are even harder to ignore—not only in story structure but in marketing. The film’s poster, which features Renee silhouetted against the desert sky alongside her extraterrestrial friend, bears a striking resemblance to Bumblebee’s promotional art. This choice inadvertently underscores how heavily Xeno leans on its predecessors.

Oates does attempt to differentiate the alien by making it more unpredictable, at times dangerous, and not always sympathetic. This adds tension to Renee’s decisions and gives the film moments of genuine suspense. Still, the narrative beats fall into such recognizable patterns that the film struggles to assert its own identity. Rather than pushing boundaries, it plays safely within established formulas, which makes it enjoyable but not groundbreaking.

Xeno is a film caught between homage and imitation. It’s clear that Matthew Loren Oates is deeply inspired by classic sci-fi adventure stories, and his passion for the genre is evident throughout. With strong performances, particularly from Lulu Wilson, beautiful cinematography, and an inviting atmosphere, the film succeeds as a heartfelt, accessible story that can appeal to families and fans of nostalgic adventure cinema.

At the same time, its similarities to E.T. and Bumblebee are impossible to ignore. The narrative familiarity prevents it from reaching the heights of originality or innovation. For viewers seeking something entirely new, Xeno may feel too safe and derivative. Yet for those who enjoy the comfort of familiar tropes delivered with sincerity and craft, it provides a satisfying, if modest, experience.

Xeno definitely doesn’t do anything to reinvent the wheel, but it rolls smoothly enough to entertain.