After a space merchant vessel perceives an unknown transmission as distress call, their landing on the source moon finds one of the crew attacked by a mysterious life-form, and soon realize that its life cycle has merely begun.
After her last encounter, Ripley crash-lands on Fiorina Fury 161, a maximum security prison. When a series of strange and deadly events occur shortly after her arrival, Ripley realizes that she brought along an unwelcome visitor.
Charles S. Dutton,
A seemingly indestructible humanoid cyborg is sent from 2029 to 1984 to assassinate a waitress, whose unborn son will lead humanity in a war against the machines, while a soldier from that war is sent to protect her at all costs.
A family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.
John McClane, officer of the NYPD, tries to save his wife Holly Gennaro and several others that were taken hostage by German terrorist Hans Gruber during a Christmas party at the Nakatomi Plaza in Los Angeles.
A commercial crew aboard the deep space towing vessel, Nostromo is on its way home when they pick up an SOS warning from a distant moon. What they don't know is that the SOS warning is not like any other ordinary warning call. Picking up the signal, the crew realizes that they are not alone on the spaceship when an alien stowaway is on the cargo ship. Written by
An early draft of the script had a male Ripley, making this one of at least three films where Sigourney Weaver played a character originally planned to be a man. The second is The TV Set (2006) and the third is Vantage Point (2008). See more »
(at around 3 mins) A moving dippy bird toy is shown in the opening scene. Dippy birds require water to work. As the crew is in hibernation and has been for some time, the water in the glass in front of the dippy bird would have long ago evaporated, so the toy would be motionless, not dipping. See more »
This is the worst shit I've ever seen, man.
What you say? You got any biscuits over there?
Here's some cornbread.
I am cold.
Still with us, Brett?
Oh, I feel dead.
Anybody ever tell you you look dead, man?
See more »
Structural perfection matched only by its hostility
Director Ridley Scott's well-honed talents of pacing and editing create a tense atmosphere that superbly conveys dread and fear of an unknown, unseen evil entity. In 1979, the technology didn't exist to generate a computer image of a Being from another world, and thank God, because this film would have sucked just like all these post-Alien creature features do. Everyone who loves this movie knows what I'm talking about. Ridley Scott had to be extremely careful not to show a full shot of the Alien, except in very brief scenes, and not to reveal exactly how it moves, because then we would see that it is just some tall, skinny guy in a rubber suit. Nowadays, some computer guy would whip up a really scary-looking, but nevertheless FAKE-looking (yes, computer guys, we can tell) Alien, and the director would not have to even think about trying to breathe life into H.R. Giger's hallucinations to make a successful picture.
The dark, cold beauty of this film will never be equaled.
340 of 422 people found this review helpful.
Was this review helpful to you?