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.
Amidst a territorial gang war in 1997, a sophisticated alien hunter stalks the citizens of Los Angeles and the only man between him and his prey is veteran L.A.P.D. officer, Lieutenant Mike Harrigan.
200 years after her death, Ellen Ripley is revived as a powerful human/alien hybrid clone who must continue her battle against the aliens. Along with a crew of space pirates, Ripley must also prevent the deadly aliens from reaching Earth.
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 brought along an unwelcome visitor.
Director:
David Fincher
Stars:
Sigourney Weaver,
Charles S. Dutton,
Charles Dance
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?
Director:
James Cameron
Stars:
Sigourney Weaver,
Michael Biehn,
Carrie Henn
After a space merchant vessel perceives an unknown transmission as a distress call, its landing on the source moon finds one of the crew attacked by a mysterious lifeform, and they soon realize that its life cycle has merely begun.
A cybernetic warrior from a post-apocalyptic future travels back in time to protect a 25-year old drifter and his future wife from a most advanced robotic assassin and to ensure they both survive a nuclear attack.
Director:
Jonathan Mostow
Stars:
Arnold Schwarzenegger,
Nick Stahl,
Kristanna Loken
In 2018, a mysterious new weapon in the war against the machines, half-human and half-machine, comes to John Connor on the eve of a resistance attack on Skynet. But whose side is he on, and can he be trusted?
Director:
McG
Stars:
Christian Bale,
Sam Worthington,
Anton Yelchin
The crew of a colony ship, bound for a remote planet, discover an uncharted paradise with a threat beyond their imagination, and must attempt a harrowing escape.
Director:
Ridley Scott
Stars:
Michael Fassbender,
Katherine Waterston,
Billy Crudup
Following the events of Alien vs. Predator, and the maturation of the chestburster that erupted from the body of Scar (the Predator that defeated the Alien Queen) into an adult Predalien, the Predator scout ship crashes in the woods of Gunnison County. A local, Buddy Benson, and his son, Sam, are hunting in the forest and witness the crash, but they are chased and are implanted with alien embryos by facehuggers along with several homeless people living in the sewers. Meanwhile another Predator lands seeking out the Alien and destroying evidence of their presence on Earth. The dwellers of the town find themselves in the middle of a battlefield between the two deadly extraterrestrial creatures, and the small group of survivors splits between the leadership of Sheriff Eddie Morales and the bad-boy Dallas Howard. Both have different opinions about the best means to escape from the beings.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Directors Colin Strause and Greg Strause wanted the film to be in 3-D, however the idea was dropped, because it would be too expensive. See more »
Goofs
In the beginning of the movie in the extended cut, when the Predalien is "born". It is shown that the ship is passing Saturn. Once the Predalien starts wrecking havoc on the ship it crash lands back on earth. Saturn is millions of miles away, how can it land back on earth so quickly? Also chances are remote that they'll crash land back on earth. This is a plot hole that was present in the theatrical cut, but the unrated version adds a scene that shows that while the mother ship is heading back to the Predator planet past Saturn, a scout ship detached from it which proceeded to head back to orbit Earth, this scout ship contained the Predalien. See more »
Quotes
Kelly O'Brien:
It doesn't make any sense. Gilliam Circle is right in the center of town. We'll be surrounded by those things.
Dallas:
Wait a second... what are you saying?
Kelly O'Brien:
I think the colonel was lying.
Darcy Benson:
That's crazy. The government doesn't lie to people.
Kelly O'Brien:
The army thinks about containment first. They can't risk this getting any worse.
Morales:
Help is a few miles down that road and they're waiting for us. Now, it you won't drive us there, I will.
Dallas:
Eddie, if she's right, the only thing down that road are more of those things.
Morales:
...
[...] See more »
Crazy Credits
The opening title card features many sound effects from the previous movies, such as motion tracker beeps from Aliens, and the Predator POV humming. See more »
Really, only the review for Spinal Tap's Shark Sandwich album will do this terrible, terrible film justice, but IMDb's censors won't let me be that succinct.
This is the sort of movie one gets when two teenage boys are let loose with tens of millions of dollars of studio money and no parental control. There's no doubt that the Strauss brothers are big fans of the Alien franchise, it's stamped on every frame of this shockingly bad movie. Even a short exchange between Ripley and Newt only available on the extended edition of Aliens is milked for a sick joke in a particularly unpleasant scene in a maternity ward.
All this could be forgiven if it was at least entertaining in a brain dead kind of way, but the titular beasts aren't given enough screen time, and much of the action consists of people shooting in the dark at shadows off-camera. I can at least give a desultory hand-clap to the amount of gore, something the previous AvP lacked in an ill-advised attempt to make it child-friendly, but in this film it's all wrong, characters we've just got to know have their heads ripped apart or melted without any concern for the viewer's relationship with them. The film-makers probably think they're cleverly wrong-footing us, the way that Ridley Scott did by killing off Tom Skerritt's character in Alien, but they'd be wrong, they're just rubbish.
I haven't even started on the script and cast of characters, they're both laughable.
Anybody with any influence in Hollywood, I implore you: never let Beavis and Butthead behind the camera again.
I can only hope that many people lost their jobs after this debacle and returned to lives of crushing drudgery. Never mind the writers going on strike, I'm surprised that audiences haven't started angrily picketing cinemas with shocking dross like this coming out of Hollywood.
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Really, only the review for Spinal Tap's Shark Sandwich album will do this terrible, terrible film justice, but IMDb's censors won't let me be that succinct.
This is the sort of movie one gets when two teenage boys are let loose with tens of millions of dollars of studio money and no parental control. There's no doubt that the Strauss brothers are big fans of the Alien franchise, it's stamped on every frame of this shockingly bad movie. Even a short exchange between Ripley and Newt only available on the extended edition of Aliens is milked for a sick joke in a particularly unpleasant scene in a maternity ward.
All this could be forgiven if it was at least entertaining in a brain dead kind of way, but the titular beasts aren't given enough screen time, and much of the action consists of people shooting in the dark at shadows off-camera. I can at least give a desultory hand-clap to the amount of gore, something the previous AvP lacked in an ill-advised attempt to make it child-friendly, but in this film it's all wrong, characters we've just got to know have their heads ripped apart or melted without any concern for the viewer's relationship with them. The film-makers probably think they're cleverly wrong-footing us, the way that Ridley Scott did by killing off Tom Skerritt's character in Alien, but they'd be wrong, they're just rubbish.
I haven't even started on the script and cast of characters, they're both laughable.
Anybody with any influence in Hollywood, I implore you: never let Beavis and Butthead behind the camera again.
I can only hope that many people lost their jobs after this debacle and returned to lives of crushing drudgery. Never mind the writers going on strike, I'm surprised that audiences haven't started angrily picketing cinemas with shocking dross like this coming out of Hollywood.