Alien (The Director's Cut)
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Movie Reviews of Alien (The Director's Cut)
Movie Review: In the pantheon of cinematic masterpieces, one of the finest
Summary: 5 Stars
Someone once said, "There's a thin line between brilliance and absurdity." More than any other film, Ridley Scott's "Alien" supports that statement. It began as a low-budget project for notorious schlock producer Roger Corman, then titled "Star Beast," but somehow, along the way, everything just came together. If anyone but the great Mr. Scott had directed the film, if Sigourney Weaver had not received her breakthrough role as feminist icon Ellen Ripley, if the film had come together any other way, it might have been just what it began as: a turgid, $3-admission grindhouse flick. Instead, "Alien" wound up as one of the finest films in the history of cinema.
Released at the peak of audiences' fascination with sci-fi films at the end of the 70s, the plotline behind "Alien" is classic: a mining ship, drifting through space in the far future, reluctantly responds to an S.O.S. from a distant planet. They land on the planet and find a downed spacecraft, the fossilized body of a gigantic non-human lifeform, and within the spacecraft legions of what appear to be eggs. One foolish crew member decides to stick his face into one of the eggs, and so begins the horror of "Alien," as one-by-one the crew is picked off by an alien lifeform perfectly designed to kill. Most of the cast received their starmaking roles in this film, most notably Weaver, who is arguably the most iconic female in cinematic history. Ian Holm delivers a delectably devious performance as Ash, the ship's scientist, who isn't who he seems. The most menacing character nevers appear on-screen: the corporation for which the crew works, referred to simply as "the Company." (It appeared more prominently in the sequels, where it was given a name: Weyland-Yutani.)
Ridley Scott is the driving force behind the picture. He's made many great films, two which are among the best ever made (the other being his brilliant sci-fi neo-noir "Blade Runner"), but "Alien" is his greatest masterpiece. Through dark lighting, claustrophobic sets and camerawork, and seamless editing, not to mention some of the most realistic performances ever in a sci-fi film, Scott fashions what may well be the most suspenseful, horrific film ever made. That's why "Alien" stands above all its sequels: more than a sci-fi thriller, it's an artful, unsurpassably tense picture which captures fear like no other. It's a testament to the timelessness of the film that "Alien" remains so damned scary to this day, nearly thirty years after its release. To add the tension, there's not a lot of music in the film when compared to others like it. The score is composed by Jerry Goldsmith, and when it does appear in the film, Goldsmith's music is wonderful, at once in tune with the film and with a winningly classic sound to it.
Of course, the film wouldn't be anywhere near so scary if the titular alien was the most chilling, ghastly creature ever to grace the screen. It's truly an ingenious concoction, thanks to the brilliant and twisted mind of H.R. Giger, who designed the beast. The fact that it's simply a man in a suit doesn't matter at all - in fact, that makes it all the more frighteningly real. The final touch is the stunningly intricate, spotlessly designed, and flawlessly detailed production design by Michael Seymour.
Those who appreciate film and have put off watching "Alien," because it's a sci-fi movie, because it sounds silly, or for whatever other reason, are making an immense mistake. "Alien" is one of the great cinematic masterpieces, classic in style (one scene feels like it was taken straight out of a Hitchcock film) "and timeless in the pantheon of movie masterworks. Though its numerous are worth nothing as well (particularly James Cameron's "Aliens," a film which ranks just behind Scott's original), none rivaled the legendary original. The film is flawless and a classic, including at least two unforgettable scenes (the ending and the infamous "chestburster" scene) to match an unforgettable, truly remarkable film. In space, no one can hear you scream - a good thing for our astronauts, because Ridley Scott's masterpiece has garnered many a scream, and no doubt shall continue to do so for ages to come.
Movie Review: Not so much sci-fi as curiously realistic
Summary: 5 Stars
Though I had already seen this movie several times I was happy to watch it again during a film class in college called `Film and the American Hero'. The professor's goal obviously was to present a female protagonist for the course and he couldn't have done any better than the stirring character Ripley, played so dexterously by Sigourney Weaver. Though this would have been a great film without her, Weaver is outstanding as the confident ship officer turned termagant in order to battle the redoubtable, invidious foe that is the alien. There is something indefinable about the expressions on her face that impel her character. Some sort of inner turmoil that surfaces in her countenance and mien. She is also so subtlety sexy! And if I may take a puerile moment; to see her scampering about in her underwear (obiter dictum--what a lithe, beautiful stomach) is a great amenity.
But it is more than the sylph that is Weaver that drives this motion picture. For me it is the `reality' of the show. So much so that I don't even categorize it as science-fiction. Even though it is set in the future in an unknown section of the universe you don't have to suspend disbelief because of the verisimilitude that director Ridley Scott creates. First he establishes characters that, even though they are placed in a time years from our own, they are still very authentic, complete with foibles and idiosyncrasies. They gripe, laugh, misjudge, and most of all fear. They show us that though man as man has survived he also brings the concomitant social problems, in this case class struggle.
They also remind us that no matter what technological advances mankind discovers, we will always be human. Not that the machines are perfect. Scott creates an industrial background that is grimy and foreboding. It is purposely done so as to not give an illusion of a glossed-over future. Scott wants you to know that this version of the future will not be spotless. His machines are dirty, and function haphazardly from the granular video screens to malfunctioning motion-detectors. They are noisy and require repairs. The machines are not, shall we say, exactly simpatico. In fact in two exigent instances (the insidious android and the self-destructing vessel) they are arrantly malevolent. It is against this mise en scene that Scott adroitly makes us take into account the periphery of his camera shots while dangling cords and industrial works meld darkly into a baleful background. This is culminated in the shocking revelation that the creature has hidden itself on the shuttle among the machinery. What ultimately gives this film a noumenal aspect is the monster itself. Of all the characters the monster is perhaps the most `real'. This fierce beast is a quasi spider/wasp mixture and if we look at the horror of the everyday insect world (where blood is viciously drained from weaker life forms, and victims are implanted with eggs that survive like parasites on their tissue) we see how a creature sharing these characteristics, enhanced by size can be particularly virulent. It is how one would expect such an animal be (the acid-for-blood thing is a little far out but even so, it is one of the monster's most interesting features and nicely increases the tension by complicating how the crew has to handle destroying it).
The underlying symbolism of course is the feminine turmoil. The tunnels of the planet as well as the workings of the ship (called `Mother') clearly are a physical representation of the inner reproductive system/vaginal wall of a woman. The creature itself is a symbol or reproduction and evolution with its protean abilities. It is a paradox of growth and destruction. It represents the dichotomy of the life-giving femininity and the threat of male-dominated violence. Scott exemplifies this symbolism with the coterminous forced-fellatio scene (with a porno mag as an ordure touch) and the part of the film when the woman is killed by the alien as it advances upon her not recklessly, but slowly, furtively (seductively?) reaching a limb behind, and then up, her leg.
Of course the irony is that a woman destroys the evil entity in the end engendering a conclusion that poses the theory that survival is epicene. A very interesting concept.
Movie Review: The first movie of the great ALIEN series!
Summary: 5 Stars
"In space, no one can here you scream..."
I love this movie, I love this series. If it wasn't for Alien, we wouldn't have Aliens, Alien 3, or Alien: Resurrection. Alien was release in 1979 when all the other space movies were released. However Alien looks at the future space theme much differently then the cliched laser-guns, droids, and aliens who are all humanoid and understand every language. Alien envisions a much more down and dirty theme, with dark claustrophobic corridoors. Alien is the most tense and freaky of the Alien movies, Alien 3 is the only other alien movie that comes close to being as horrific.
Alien is better then other sci-fi movies because it is a much more acheivable future with one unique alien. It provides the indistructable image of the alien, which is kind of spoiled by Aliens (one of about the only things that Aliens did wrong). This movie is also the slowest pace of the Alien saga and as a result this film is much scarier then other horror movies. Most other horror movies just have a stupid guy with a bloody knife comming at you, trying to scare you with gore, and as a result, most horror movies are more disgusting then scary. Alien doesn't make this mistake, Ridley Scott is careful not to show too much of the alien because: one-it's easier to see its a guy in a suit if you see it clearly; and two-it adds to the tense atmosphere because your own mind can scare you more then what's on screen. Alien makes you afraid of what could be around the next turn or in the dark corners. Even if you like the gore of other crapy horror movies, alien can still satisfy you with its trade make chestburster scene :)
This movie also has some terrific acting, which is important to create the right atmosphere. The music is also important in adding atmosphere; at first this movie has very little music, but as you get more into the movie the music picks up and creates some tense moments. The effects in this movie are also pretty good concidering when it was filmed. I read one review here on Amazon that complained about the effects, and that he could see the strings in every scene, and this is simply not true. The idiot who wrote that review thought he could see the 'strings opporating the alien puppet' and this just proves how stupid this guy is because the alien wasn't even a puppet it was a guy in a suit; so he was clearly out looking for strings and thought he saw some that weren't even there! Oh, and I can never forget about H.R. Giger, the geniouse behind the alien design. If it wasn't for Giger the alien in this film would probably have turned out like every other E.T. or Creature from the Black Lagoon (not that I have anything against these movies); which would probably have kept Fox from ever making the series. Giger also designed the Alien egg, space jockey, the strange planet's surface, the alien ship, the facehugger and the alien chestburster (with assistance).. did I forget anything else? Probably. But don't take my word for it, buy this new DvD. It has a great 'making of' documentary, and two versions of the movie: the theatrical release, and the director's cut (which is pretty much the same as the theatrical release, its just longer with restored scenes!)
All in all, Alien is a unique film that I salute for introducing the series, and for being an amazing stand alone movie. I will never stop watching this movie, no matter how old it gets, or how much I memorized the dialogue. If you haven't seen this movie, SEE IT NOW! If you haven't seen any of the Alien movies, I STRONGLY recommend that you see this one fisrt. Alien is suitable for anyone who likes any of the following movie genres: science-fiction, horror, suspense, drama, or old classics. So curl up on the couch with some pop corn and pop in this DvD, but don't get too comfortable, because you may prefer to hide behind the couch instead.
Movie Review: One of the best science-fiction thrillers in film history
Summary: 5 Stars
Ridley Scott's Alien must be considered one of the best thrillers ever put onto celluloid. It ranks up there with such films as Hitchcock's Psycho and Tod Browning's Dracula (1931). Alien is pretty much a classic haunted house film, but instead of an old, spooky Victorian-era manse we have an old, dingy, massive space-freighter and the endless darkness of space itself.
Alien rises above its B-movie credentials --- this film is really a B-movie at heart --- with a very taut and intelligent script, and exceptional direction from Ridley Scott. From the long opening sequence of the Nostromo filling the screen, the audience knows its going to be treated to an exceptionally shot film. Ridley Scott has always been known for his art direction and the biomechanical look of the sets in Alien helps add to the sense of dread and horror. It helps that Scott and his crew decided to hire renowned Swiss surrealist H.R. Giger to design the look of the sets and the creatures. Anyone who has seen Giger's work can easily see his influence in the set design for Alien. Giger's final design for the main creature itself will go down as one of the best creations in film history. By now, everyone knows what to picture in their head when someone mentions the words Alien and film together.
The group of actors picked for the film is excellent from top to bottom. Tom Skerritt's Capt. Dallas is a strong foundation upon which the rest of the characters revolve around. Veronica Cartwright's character's slow descent into hysteria --- wholly appropriate with the situation she and the rest of her crewmates are faced with --- is like a barometer to the increasing dread that permeates throughout the film from beginning to the end. The stand-out of the cast has to be Sigourney Weaver. The fact that this was her first major film role bodes well for what audiences could expect from her as her career exploded. Her character of Lt. Ellen Ripley is pretty much the antithesis of Cartwright's Lambert. Where Lambert slowly descended into a paralyzing hysterics, Ripley slowly took control of the situation and became the de facto leader after Dallas.
The overall tone of the film does owe alot to past scifi horror/thrillers. But instead of constant scares and red herrings, Scott slowly built up the tension and dread with long slow shots of empty corridors and cargo holds. For a film that's considered one of the best horror films ever made, Alien doesn't have alot of dark areas where the monster suddenly jumps out. The monster will jump out from well-lit and spacious areas. Scott also used Spielberg's trick of keeping the monster-creature from being on-screen for no longer than quick glimpses. Its not until close to the very end do we see Giger's Alien creature in all its glory.
This newest of the many Alien dvd editions has finally come with re-edited scenes that adds some more shock and horror to the film. I have to agree with Scott's reasoning for deleting the scenes themsevles. It does slow down the rollercoaster, beat-the-clock pace in the latter part of the film. But in the comforts of one's own home theater, these re-edited scenes are easier to take in. The look of both the original theatrical and director's cut of the film has been remastered and looks great, especially when seen on a progressive-scan capable dvd player and a dedicated widescreen HDTV. The sound and music have also been given a 4-star remastering treatment to make better use of the home theater systems that are growing in numbers.
Alien is the most superior entry in the Alien Quadrilogy, even though Aliens is a more exciting film. Alien takes the scifi horror genre and sets a standard that many have still to reach to this day.
Movie Review: In Space, No One Can Hear You Scream
Summary: 5 Stars
In 1977 we watched "Star Wars" and were impressed. It appeared that science fiction had been significantly reinvigorated by new technology. We watched "Jaws" a few years earlier, and it similarly reinvigorated the monster genre. "Alien" brought the two genres back together.
"Alien" commercials showing in 1979 and 1980 were bizarre; a black screen where portions of the title slowly revealed themselves. The commercials promised something new and different and horrific. The commercials were hardly sufficient.
Space freighter Nostromo was carrying its cargo on a return trip home whenever the spaceship received a signal that caused the ship to wake its crew. The crew journeys to a nearby planet to discover that the signal is from a derelict ship that may have crash landed centuries earlier. As the crew explores the ship they encounter a room filled with strange pods. One of the crew members, Kane (John Hurt), looks into the pod, only to have thing come flying out of the pod and attach itself to his face. The crew on the ground packs Kane back into their shuttlecraft and return to the Nostromo.
Once Kane is in the Nostromo's sick bay the crew removes his space suit and attempts to remove the thing attached to his face. However, it is evident that the thing will kill Kane if the crew tries to remove it. The crew awaits further developments. A routine check of sick bay reveals the thing is off Kane's face, and Kane soon rouses, seemingly as good as ever, and hungry! The crew also finds the thing, dead, and Ash (Ian Holm), the ship's android, examines the thing. Kane begins to eat breakfast, only to discover some really, really extreme gastric distress.
After a relatively small alien takes its leave of Kane in one of the most disturbing and memorable scenes in the history of film, the crew try to track down the alien. However, they soon find that the little alien is now a huge monstrosity with an exoskeleton and acid for blood, and a seemingly endless appetite. They also discover that the alien is extremely intelligent, apparently inheriting substantial knowledge.
The remainder of the movie is an incredible cat and mouse game between the crew and the alien, with each and every encounter more chilling and frightening than the last, as the crew tries to deal with a creature outside anyone's experience. The end of the movie remains a powerful testimony to Ridley Scott's directing abilities. Those who saw the movie more than once in the theater or have the movie on DVD can easily see the alien well in advance of Ripley, allowing us to feel the fear of the impending encounter in advance of Ripley.
This movie featured a cast of well-known actors and soon-to-be stars, most notably Tom Skerritt as Dallas and Sigourney Weaver as Ripley. Ripley dominates this movie as the type-A leader who fights the alien every step of the way, all the way to the end. Yaphet Kotto, Veronica Cartwright and Harry Dean Stanton round out the human crew.
This movie set a new standard for monster movies and for science fiction. The characters were believable and three dimensional. The sets were superb; incredibly fantastic visions including the art of H.R. Giger. The music contained substantial sub-woofer, making the listener feel intensely uncomfortable to enhance the more intense scenes. The traditional haunted house or creepy village was replaced by a spaceship from which there was no escape. Spicing up the plot is a subplot involving Ash and the company that owns the Nostromo.
Take your blood pressure medicine before watching this one on your big screen with home theater sound.