Ellen Ripley is rescued by a deep salvage team after being in hypersleep for 57 years. The moon that the Nostromo visited has been colonized, but contact is lost. This time, colonial marines have impressive firepower, but will that be enough?
After her last encounter, Ellen Ripley crash-lands on Fiorina 161, a maximum security prison. When a series of strange and deadly events occur shortly after her arrival, Ripley realizes that she has brought along an unwelcome visitor.
Charles S. Dutton,
200 years after her death, Ellen Ripley is revived as a powerful human/alien hybrid clone. Along with a crew of space pirates, she must again battle the deadly aliens and stop them from reaching Earth.
In 1938, after his father Professor Henry Jones, Sr. goes missing while pursuing the Holy Grail, Professor Henry "Indiana" Jones, Jr. finds himself up against Adolf Hitler's Nazis again to stop them from obtaining its powers.
In the distant future, the crew of the commercial spaceship Nostromo are on their way home when they pick up a distress call from a distant moon. The crew are under obligation to investigate and the spaceship descends on the moon afterwards. After a rough landing, three crew members leave the spaceship to explore the area on the moon. At the same time as they discover a hive colony of some unknown creature, the ship's computer deciphers the message to be a warning, not a distress call. When one of the eggs is disturbed, the crew realizes that they are not alone on the spaceship and they must deal with the consequences.Written by
It's never made completely clear just what the Alien is doing on The Nostromo, besides being a stowaway, and maybe killing everyone off because it's an Alpha Dog Apex Predator; it's taking over the space and killing off the competitors instinctively. Some of the people are used as surrogates; Kane and Dallas, some seem to be just killed off like Parker, and others like Lambert might have been raped by the humanoid; we're not quite sure. In the original script the Xenomorph was definitely more of a sexual predator; the face huggers were described as committing an act of obvious face rape; and the adult Xenomorphs were raping the other members in a more humanoid, man on woman and man on man fashion, and then discarding all the victims and the bystanders, in apex predator fashion. In later drafts the sexual predator aspect of the Alien was toned down; and in the final filmed version while all this stuff is hinted at, we're not exactly sure what the alien's mission and purpose is, who it wants to kill, who it wants to use as surrogates, and who's being killed off out of pure instinct, for no other obvious reason. This makes the xenomorph much more ambiguous. (As compared with the predatory creatures of Invasion of the Body Snatchers and the Thing which had much more obvious modus operandi). The sequels did not make this more clear, because the alien of the original, and then the aliens of part 2 and part 3 seem almost to be different creatures altogether. And in different versions of these scripts the aliens are more beast like, more sexual, and in some they are intelligent and can even talk! (The original ending of the Dan O'Bannon script has the Xenomorph killing Ripley and then talking for her; kind of like The Terminator does in The Terminator, imitating her voice). So in a way the alien is an all purpose hodge-podge villain, shapeshifing into whatever type of villain the plot requires. See more »
When the first computer screen awakens, and when Ripley calls for a location check, we see/hear that the NOSTROMO has a registration number of 180924609; a second view of a new page on the screen AND in some shots outside the ship show the reg ID as 180286. 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?
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The title of the movie is slowly created one line at a time at the top of the screen during the opening credits, starting out with the I, then the forward slash in A and the slash in N, and then the vertical lines in L and E (so it looks like / I I I \). After that, the ensuing lines of each letter are added slowly one at a time until the title is fully visible. See more »
Only released on certain special edition versions of Alien, there is a 55-second side shot of the Nostromo passing by. This shot was originally intented to show just how enormous the Nostromo's cargo was (which supposedly is over a mile in length) but was removed because the size of the cargo really isn't that important and the scene was really long. See more »
Back in early 20th century, Lumière brothers didn't have a clue of what they were playing with. I'm freaking sure that if somebody could have magically told them that thanks to their work, a movie like 'Alien' would have been made in the future, they both would have died of a sudden, shocked by the consequences of their labor, like an honest scientist would if he was shown an evil use of his research. In that sense, but in the best way imaginable, 'Alien' is the atomic bomb.
In my opinion, 'Alien' is the only perfect movie in the history of cinema. Of course, this could be debatable, but of all the films I've watched since I was born, this is the only one in which I haven't been able to find the slightest flaw. It gets a golden ten out of ten. Bright, solid and massive.
I could go on with a panegyric, but I'll try to be short and accurate:
The direction is just perfect. Every shot is marvellous, every movement of the camera is breathtaking. There is absolutely nothing you could add or subtract. Touch it, and you spoil it. Seriously.
The acting is splendid. The performances build a credible world centuries away. I don't know about you, but this take on the future was unveliabably acceptable. Sigourney Weaver is more than a revelation, John Hurt is a master, and the rest are nothing short of marvellous.
The script is a work of art, the story is mesmerizing, well-constructed, well-developed, and free of absurd twists. Its simplicity and efectiveness are yet, 25 years after, to be matched.
The atmosphere is pure genius. Gothic, claustrophobic and sometimes baroque. The use of light and dark is beyond description, the use of sound is as creepy as it gets.
The FX are the best possible for 1979. In the time of the release, some scenes were stomach churning.
The score. Jerry Goldsmith's work matches the images so perfectly it seems to bleed from them. It is and will be the best soundtrack for a sci-fi flick in space ever.
The tagline. "In space, no one can hear you scream". THIS is a tagline.
And, of course... the alien. The only alive creature that can steal Weaver the movie. Its design is the most innovative I've seen. It has spawned dozens of disgraceful imitations. This is the real deal. Not only the look, but the complete design of a life form, including biological features. Acid instead of blood. Jaws inside jaws. What more could you possibly want? This is how a movie is done.
A very good sign of a movie that has gone down in history is the amount of collectively well remembered scenes. Well, 'Alien' has so many that I won't go into it. This movie contains so many iconic scenes that has become an icon itself.
So, what else? I urge all young directors to watch this movie a zillion times, as I've already done, and take notes all along. But not in order to rip off from it, as many others have done, but to learn, learn, learn, learn and learn how a movie should be done. 'Casablanca'? You must be joking.
Oh, I almost forget! There's a lovable cat in it.
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