Set in a futuristic world where humans live in isolation and interact through surrogate robots, a cop is forced to leave his home for the first time in years in order to investigate the murders of others' surrogates.
Dr. Bruce Banner, thanks to a gamma ray experiment gone wrong, transforms into a giant green-skinned hulk whenever his pulse rate gets too high. Meanwhile, a soldier uses the same technology to become an evil version of the original.
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>
The creature that the alien impregnates was originally an ox, but was eventually changed because an ox was cumbersome and was seen as somewhat incongruous when placed in the film's environment. This sequence was later restored for the extended "Assembly Cut." See more »
In the cafeteria, Ripley's glass of orange juice goes from half full to full. 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 should be a rule of sequels that one does not invalidate the entire purpose of the one preceding it.
Aliens 3 cynically opens with, "Hey everything you saw in Aliens 2, everything Ripley endured and did meant NOTHING."
Once you strip away that gleam of hope, instill a complete sense of futility, you create in the viewer a, "What's the purpose, they are all gonna die anyway" mindset.
Sequels these days while complained about do carry with them advantage over say the trilogies of even a decade ago. Today most films with even a promise of a sequel or a series of sequels carry along with them a story arc. There is a lot less of the making it up as we go along to the writing of each installment than in the past.
Even this is a double edge sword. Where as you don't have to explain how a person who in the first movement was seen having their head chopped off didn't really die, you loose the creativity of having to write yourself out of what was once a story's deadend.
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