Predator is pure product, but at least it's made by a filmmaker who knows what he's selling. As directed by Paul W. Anderson and one would imagine, conceived by the studio , AvP was designed to deliver on the promise of watching cinemas biggest, most badass extraterrestrials go to battle, and that it does. Lance Henrickson returns to the fold as Michael Bishop Weyland in a move that causes some head-spinning continuity questions if you consider AvP canon, which is almost impossible at this point how could Aliens be on earth in ancient pyramid if they were created by David?
Don't you dare say time travel! Weyland assembles a team of experts, headed up by Sanaa Lathan , Raoul Bova , and Ewen Bremner , to explore an ancient pyramid hidden below the ice of the Antarctic. In his first post- Resident Evil film, Anderson brings a similar mechanical style to the setup, as each new chamber and unlocked door leads to a fresh hell, tinted in the tradition of the Alien and Predator legacies, the team wandering into and triggering new traps along the way.
Nearly 15 years since its release, AvP also draws a deeper shade of cynicism during a rewatch. It's an early adopter of the sort of IP-mining that plagues the modern cineplex, and we've seen that too often for too long now not to recognize the signs of a franchise cash-grab that throws nostalgia in the blender and serves up whatever mushy mess comes out.
That said, while AvP is unequivocally one of the weakest films in the franchise, it's not without its delights. The money shot battles between the beasts are cleanly shot and well-lit unlike those of their follow-up and the effects are beautifully done by ADI, leaving behind the painted VFX of Alien 3 and Alien: Resurrection in favor of a healthy dose of practical work and updated hybrid tech that still looks pretty fantastic.
This is a movie that sounds fantastic on paper. What's not to love? In a well-documented string of creative tumult, the studio had no idea where to take the franchise after Alien 3 starkly redirected the tone and killed off the heroine. Even after the creative team was brought on board, the film continued to shift and evolve drastically. As you might expect, the result is pretty much a big ol' mess of an awkward, unformed film that barely feels at home in the Alien franchise.
But there's a weirdness and wildness to Resurrection that keeps it from being a complete disaster. Whedon's script is something of a precursor to Firefly , as he would later admit in interviews, following a rag-tag gang of oddball mercenaries who come up against an unfathomable force -- ie, Aliens. But not just your average Xenomorphs always gotta be bigger and badder in a sequel.
Resurrection returns Ripley to the fold after her Alien 3 sacrifice by cloning her at the hands of the company, who of course want dat Alien for experimentation. Experiment they do, and we wind up with a superhuman, genetically altered Ripley, her DNA crossed with the Xenomorph, and series of ever-stranger Alien mutations leading up to the Newborn, a confounding creation and singular looking Alien creature that is too weird, too far removed from the Giger aesthetic, and far too sympathetic to cohesive with the Alien mold.
Here's the thing though, I'm a firm believer that all four of the original Alien movies are a joy. Taken on its own, Alien: Resurrection is a flagrantly bizarre and unwieldy film that stamps out a singular place for itself in the realm of sci-fi. That place may not feel particularly at home in the Alien franchise, but it's certainly a compelling, unpredictable and dynamic place to end up.
Weaver clearly relishes in her character's newfound power, leaning into her abilities and owning the court like Michael Jordan, and the film is constantly willing to get weird with it, staying true to the concept of genetic engineering, even when it gets downright loopy and uncharacteristic for the franchise.
Alien: Resurrection may not be good exactly, but it sure is interesting, and well worth the ride. It definitely could have had a lot less Alien groping though. Alien: Covenant is a real humdinger of a divisive film. Critics are not only split on the simple matter of whether it's a good movie or not, nobody can seem to align on which parts are great and which are disappointing.
Further, the film can't even decide what movie it wants to be. So as you might expect, I have some cognitive dissonance when it comes to Covenant. On one hand, it's the kind of Alien movie I've been waiting decades to see, filmed in the luxuriantly gorgeous stylings of Ridley Scott. As is the Alien tradition, they touch down on a planet containing a hellscape of nightmarish extraterrestrial slaughter.
Covenant carries the seeds of two excellent films, though it never converges into one. One delves into a story of madness and loneliness, told through David's megalomanic conviction in destruction and creation.
The other, and the one I desperately wish we could have seen, is a much more simple story about a team of intimate colleagues and friends who are torn apart by an ungodly terror. So basically, Alien. And it's understandable that Scott wouldn't want to make the same film twice. But by trying to tape an Alien exterior on a Prometheus sequel, he makes a film that can't quite satisfy either demand.
That said, I still really enjoy the film and I suspect my love for it will only grow with time. The flourishes and technique on display are stunning and the characters aboard the Covenant , led by Katherine Waterson 's Ripley-esque Daniels, are fascinating until their aborted by stupidity. It's not a perfect Alien movie, but it's damn good to see one again. Weyland-Yutani has poured massive resources into this orbital facility. Day 2: The facility is hiding a terrible secret.
Highly aggressive mega-parasites with corrosive blood. Day 3: Breeding program is a house of horrors. Where did these people come from? Company is sending the larvae somewhere. Xeno WeylandYutani SciFi larvae. They are dropping these payloads on the planet below. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love.
Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes. Articles Features Interviews Lists. Streams Videos All Posts. My Profile. Advanced Search. Composed by Tony Banks Mike Rutherford. Release Year incorrect year? Song Genres. All Genres.
Alguna Mañana Aterciopelada (Some Velvet Morning) - Nancy Sinatra, Nancy Sinatra & Lee Hazlewood, De, Various - Jiving Jamboree 3 (CD), Sport - Various - Destructief Jong Nederland (Cassette), Three Little Birdies Down Beats - The Chemical Brothers - Exit Planet Dust (Cassette, Album), Red Letter Day - The Get Up Kids - Something To Write Home About (Vinyl, LP, Album), On The Defensive - Tom Kimmel - 5 To 1 (Vinyl, LP), I Cant Hear You (Ill Head Mix Instrumental) - Top Quality - I Cant Hear You / What (Vinyl), Electric Guitar Blues (Inst.) - Porky Freeman - The Guitar Boogie That Startled The World (Vinyl, LP, Distant Void, How Long Babe - The Nervous Wrecks - Nerve Ending (Vinyl, LP), War Against Maya - Various - Bollok Wok, The New Breed Spirit, Terengganu Punk / HC Compilation (Cas, Sleep Tight - The Holy Kings - Freakshow (CD, Album), Aint No Feeble Bastard (Bonus Track) - Soulfly - Soulfly (CD, Album), Come Saturday Morning - The 50 Guitars Of Tommy Garrett - 50 Guitars For Midnight Lovers (Vinyl, LP, Doce Alegria - Various - Festa Das Crianças (Vinyl, LP)