After her last encounter, LT Ellen Ripley crashlands 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.
After a space merchant vessel perceives an unknown transmission as distress call, their landing on the source planet finds one of the crew attacked by a mysterious lifeform. Continuing their journey back to Earth with the attacked crew having recovered and the critter deceased, they soon realize that its life cycle has merely begun.
During an archaeological expedition on Bouvetøya Island in Antarctica, a team of archaeologists and other scientists find themselves caught up in a battle between the two legends. Soon, the team realize that only one species can win.
A skirmish in Shanghai puts archaeologist Indiana Jones, his partner Short Round and singer Willie Scott crossing paths with an Indian village desperate to reclaim a rock stolen by a secret cult beneath the catacombs of an ancient palace.
Jonathan Ke Quan
Following clues to the origin of mankind a team journey across the universe and find a structure on a distant planet containing a monolithic statue of a humanoid head and stone cylinders of alien blood but they soon find they are not alone.
A cybernetic warrior from a post-apocalyptic future travels back in time to protect a 19-year old drifter and his future wife from a most advanced robotic assassin and to ensure they both survive a nuclear attack.
After escaping from the alien planet, the ship carrying Ellen Ripley crashes onto a remote and inhabited ore refinery. While living in the ore refinery until she is rescued by her employers, Ripley discovers the horrifying reason for her crash: An alien stowaway. As the alien matures and begins to kill off the inhabitants, Ripley is unaware that her true enemy is more than just the killer alien. Written by
Kerwin Tsang <firstname.lastname@example.org>
William Gibson wrote a very early script treatment for the film, which was initially intended as a two-parter to be shot back-to-back. As Sigourney Weaver's involvement was in question, the main focus of this script was between Hicks and Bishop, two characters from Aliens (1986). Many consider this to be a much superior script. The only carry-over from this original script, however, is the bar-codes on the back of the convicts' necks. See more »
During the montage at the start of the movie, the facehugger is presented as breaking through some glass followed by spilt acid eating through the decking and causing the cryogenic tubes to be ejected. The broken glass was directly over Ripley, so any acid spilled from the wounded facehugger should have dripped onto Ripley and scarred her horribly if not killed her outright, yet she is uninjured from the facehugger's acid blood. In fact, the 'acid burn' is along Newt's cryotube and not Ripley's tube. See more »
Stasis interrupted. Fire in cryogenic compartment. Repeat, fire in cryogenic compartment. All personnel report to emergency escape vehicle launch pod. Deep-space flight will commence in T-minus twenty seconds.
See more »
The 20th Century Fox fanfare that plays during the opening studio logo segues ominously into the score of the film. See more »
There is a limit to how many times a story can be told....
For the "Alien" saga, that number is 3.
This third installment of the venerable saga basically plays out like a Greek tragedy where everything is desolate and everyone is in despair, either over personal loss or their own discontent. Ripley ends up on a prison planet and, of course, one of the aliens from the original has followed her, ensuring an onslaught of epic proportions.
UNFORTUNATELY, too much time is given to think about certain plot points. Such as:
Why are so many interesting characters introduced (namely Dance), then dropped so arbitrarily?
Why does Fincher's direction seem so shaky and unsure (in great contrast to his work in "Se7en")?
How could the same writers (mainly Hill and Giler) write a story that has little or no emotional impact and next to no development as far as plot, motivation or even (in the alien's instance) shock value?
And you'll notice, once you've seen this film, that it hasn't got the same sensibilities the first film had. There is too much time spent on the downbeat, the morose and the evil that men do that there is little to no time left for the sporadic alien attacks. Sometimes, it's easy to forget this is science fiction we're watching; it might as well be a prison drama for all this movie cares.
I won't give away how this movie ends, but to ask one question: if this was, indeed how the series was supposed to end, what are we to make of Ripley's act? Was she indeed being ascended to the Christ-like for her actions (as is made all too obvious by the final symbolism) or was she a martyr for the cause of good vs. evil? Or was it, as is my opinion, misplaced symbolism just for symbolism's sake?
Even in the theater I saw this in, many of those around me reacted to this film like they would one of "Alien"'s many rip-offs. Lots of exasperated sighs at different points, some non-amused laughter and at least one person commented aloud "Aw, jeez!".
My feelings, exactly.
Three stars for the effort but as far as sequels go, this probably wasn't as "Alien" a product as they wanted to get to the audience.
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