As a film enthusiast who has spent countless hours lost in the vast cosmos of cinematic universes, I must say that these reviews perfectly encapsulate the timeless brilliance of Ridley Scott’s “Alien” and James Cameron’s “Aliens”.
Judging the worth of an “Alien” movie can be a highly individual and intricate process. Despite the unquestionable artistic and financial successes of the first two films, it’s essential to consider what appeals more to you – horror or action. Once that’s decided, you need to weigh whether you value the intent behind the film or how well it was executed. Are you considering the theatrical release or an alternate version? Is authenticity to the original story important, or do you prefer creative departures? These are some of the factors that might lead to very different opinions among viewers, much like the tagline of “Aliens vs. Predator” suggests: Regardless of who wins, we all lose in a way.
In the “Alien” franchise, which spans over 45 years and includes the “vs. Predator” movies, “Alien: Romulus” is the ninth main film. This latest installment seems to signal a new wave of xenomorph stories, as Noah Hawley’s “Alien: Earth” series is due out soon. As “Romulus” scares moviegoers, here’s a ranking of all the “Alien” films by EbMaster.
Aliens vs. Predator: Requiem (2007)
In simpler terms, Todd Gilchrist’s review suggests that whether you enjoyed the “AvP” films as creative extensions of the “Alien” universe or as exciting combinations of multiple franchises, their impact on the Alien series was fortunately minimal. The 2007 film, which ends with a city-destructive nuclear explosion, left the smallest mark among all the chapters. This is fortunate because the brothers Strause, who were in charge of special effects, delivered a story that is not only unnecessarily violent but also relies heavily on computer-generated imagery (CGI) that makes the xenomorphs look weak. Furthermore, this film has a subplot borrowed from many popular teen dramas at the time, replacing original ideas with a combination of aliens and predators, instead of providing memorable characters or even a moment of genuine tension.
Alien: Resurrection (1997)
As a dedicated movie enthusiast, I found myself engrossed in Jean-Pierre Jeunet’s (“Amelie”) direction of “Alien Resurrection”. Unlike the studio-controlled version of David Fincher’s cut, this installment embraces Joss Whedon’s 90’s stylish flair. Compared to its predecessor, the film offers more entertainment, but unfortunately, it falls short overall.
Alien 3 (1992)
As a devoted “Alien” franchise fan, I must confess that while “Alien 3” sparked intense debate among fans, it unfortunately felt like a letdown after the powerhouse punch of the first two movies. The decision to eject Ripley’s fellow survivors was questionable, especially when no equally captivating replacement was offered. When Fincher placed Ripley on a grim planet inhabited by shaven-headed, violent convicts, it set up an intriguing “oh no, aliens” scenario (just to pique our curiosity about who would meet their end next). However, when Ripley learns she’s carrying an alien queen, the narrative veered into a series of drawn-out scenes that undermined the suspense and emotional weight of her decision to live or die.
Aliens vs. Predator (2004)
Despite being unconventional to place this movie above any of Fincher’s works, Paul W.S. Anderson’s spinoff skillfully blends two seemingly flawed mythologies with sincere respect and a knack for entertaining efficiency. The series started experimenting with CGI in “Alien 3,” and Anderson utilizes some here, particularly the colossal alien queen that is activated following a human expedition’s discovery of an ancient pyramid buried beneath Antarctic ice. However, a larger number of scenes than expected appear to have been filmed practically, and while Anderson’s concept of a puzzle-box pyramid may seem preposterous, it introduces an element of uncertainty and a satisfying, if predictable, hero’s journey for Alexa Woods (Sanaa Lathan), a strong, albeit somewhat underdeveloped, replacement for Ripley as portrayed by Weaver. Anderson’s no-nonsense approach ensures the film avoids both monotony and heavy-handed seriousness, offering a B-movie that is enjoyable without being overly self-referential. — JD
Alien: Covenant (2017)
Covenant,” also known as “Prometheus 2,” is an intriguing space odyssey that sometimes slips into typical 2010s sci-fi but, under the direction of Ridley Scott, knows when to ramp up its intense chaos. It combines the storyline of David (Michael Fassbender) from “Prometheus” with a colonization journey that takes an unexpected stop at the home world of the beings responsible for human creation, the Engineers. The script by John Logan (“Gladiator”) and Dante Harper explores the philosophical questions raised in the first film more deeply but also provides Scott with opportunities to create epic, sweeping set pieces.
Prometheus (2012)
In the “Alien” series, Ridley Scott’s comeback delivers a visually stunning and captivating half of a film, eclipsing the other parts like how an Engineer overshadows its creations. The screenplay by Jon Spaihts and Damon Lindelof introduces an android character, David (portrayed by Fassbender), who is almost as fascinating as the alien creatures the Prometheus team seeks. Unfortunately, human stupidity spreads rapidly, akin to an alien parasite, once they reach LV-223, resulting in a conclusion that leaves more puzzling questions than answers. Despite this, a memorable scene featuring an automated surgery table stands out. — TG
Alien: Romulus (2024)
In this film titled not quite a standalone, Fede Álvarez endeavors to reconcile inconsistencies in the franchise’s lore, primarily focusing on a team of youthful colonists who stumble upon troubles they didn’t anticipate while retrieving equipment for deep space travel from an abandoned facility. The clean-cut cast might struggle to convincingly portray gritty subterranean outcasts, but Álvarez and co-writer Rodo Sayagues (“Don’t Breathe”) skillfully balance the technology and tempo between Ridley Scott’s 1979 original and James Cameron’s 1986 sequel, creating an immediate sense of being transported to that era. However, some efforts at reconciliation are more successful than others, resulting in a finale that becomes overly complex as it weaves in prequel elements and pays tribute to the first two films. In essence, this film resembles a bloodier “Star Wars: Rogue One,” standing proudly on the shoulders of giants, creating a thriller that successfully navigates close to the sci-fi greatness established by its classic predecessors decades ago. — TG
Aliens (1986)
In a remarkable twist within any film franchise or genre, James Cameron’s sequel, “Aliens,” skillfully blends the visual style and mythology of Ridley Scott’s original while transforming it from a straightforward horror into an action-focused tale driven by character development. Sigourney Weaver’s portrayal of Ripley earned a well-deserved best actress nomination, as she transitions from a passive character in the first film to a powerful heroine by embracing her maternal instincts and femininity. This not only highlights Cameron’s penchant for strong female roles, but also showcases the complexity of all characters, even the seemingly one-dimensional Marines. Although it may lack the terror of Scott’s film, each action sequence in “Aliens” is more exhilarating than the last, and James Horner’s iconic score adds an extra layer of excitement (it was frequently used in trailers for a decade). Witty, innovative, and expertly timed, “Aliens” stands alongside its predecessor as a masterpiece, offering a unique take on the same story. — TG
Alien (1979)
What number of horror or sci-fi movies can be considered truly exceptional, like Ridley Scott’s “Alien”? The term ‘exquisite’ fits this movie perfectly, and only a handful of others share the same distinction. The visuals in this film are almost like paintings; whether it’s the intricate machinery inside the spaceship Nostromo or the gruesome, blood-streaked aftermath of a crew member’s death. The designs by artist H.R. Giger, including the xenomorph itself, have not only provided a terrifying, biomechanical base for the entire franchise but also transformed a commonly gory genre into a boundless arena for suspenseful, psychological, even artistic exploration (without getting too controversial, let’s avoid labeling it as “elevated”). The film’s cast in their 30s, headed by Weaver with a realistic blend of skepticism and resilience, lends a working-class authenticity to the dangers, making viewers genuinely care about who is being killed. Lastly, Scott, with his masterful direction and sensitivity, crafts an experience that both terrifies and amazes in equal measure. – TG (paraphrased)
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2024-08-16 19:48