Every Alien Movie, Ranked

As a child of the 80s, I was utterly captivated by the cinematic universe that James Cameron and Ridley Scott breathed into our collective consciousness with their masterpieces – Alien and Aliens. The sheer terror of the original film and the adrenaline-pumping action of its sequel left an indelible mark on my young mind.

Despite the Alien franchise having the most generic title conceivable, its titular aliens are truly singular creatures. There’s nothing else quite like the H. R. Giger-designed Xenomorphs, biomechanical-looking nightmares who hijack our bodies to transform themselves in unforgettable, sexually coded bits of body horror. And the franchise has proved to be as versatile and ever-changing as the Xenomorphs themselves.

Ranking the Alien movies is quite a complex task due to the depth and versatility of the franchise. We’re not just looking for the usual suspense elements like Facehuggers and Chestbursters, but also seeking movies that explore themes beyond the aliens themselves, adding layers that could potentially make them less central in their own series. Everyone might have different preferences, which is a testament to the franchise’s power. However, we’ve strived to set aside personal biases and evaluate the series as objectively as possible for our ranking from worst to best. Let’s hope this list provides some insight into the Alien universe down here on Earth.

Aliens vs. Predator: Requiem (2007)

The follow-up to the movie “Alien vs. Predator” had high expectations to meet, but unfortunately, “Aliens vs. Predator: Requiem” fell flat. One major issue is that most of the film occurs during the night, making it difficult to see what’s happening due to poor lighting. Despite the potential for exploring Xenomorph attacks on a suburban town instead of space ships or colonies, the execution in “Requiem” was poor and the movie itself is hard to watch. It’s unclear if Xenomorphs would work as well in a familiar setting like a suburb, but with a film this bad, it’s difficult to say for sure.

Alien Resurrection (2007)

One reason why the Alien franchise remains popular is its timeless quality, giving it a sense of both age and modernity. The original film, produced in the 70s and set in the distant future, showcases the worn-out appearance of the Nostromo with its leaking pipes and rusty chains, along with the bizarre, seemingly mechanical design of the Xenomorph, making it feel both old and new simultaneously. In contrast, Alien: Resurrection, the fourth installment in the series, doesn’t evoke that timeless feeling; instead, it comes off as a product of 1997 and written by Joss Whedon, due to its release date and script. The movie takes place two centuries after the previous installment and follows a group of quippy mercenaries who team up with a clone of Ellen Ripley when things go awry at a secret military Xenomorph research station. They must then fight their way out, resulting in a lot of violence and an unsettling human-alien hybrid. Despite these elements, Alien: Resurrection resembles many generic sci-fi productions from the millennium era. Sigourney Weaver returns as the clone, but her performance lacks the depth seen in her previous portrayals of Ripley, leaving Alien: Resurrection feeling more like a cheap imitation rather than an authentic continuation of the original franchise.

ALIEN3 (1992)

David Fincher distanced himself from his first directorial project, “ALIEN 3”, attributing it to studio meddling and production difficulties that led to a product not reflective of his original vision. While he might be overly critical of himself, the film remains worthy of appreciation for placing Ripley, a formidable action heroine, in a nightmarish futuristic space prison colony. Despite the hardships she faced after being denied the expected happy ending in “Aliens”, Ripley once again confronts alien horror. Both Sigourney Weaver and Fincher display impressive directorial skills, yet the flaws of “ALIEN 3” can be attributed to its position within the franchise’s timeline. It served as a sequel following two critically acclaimed films – one in the horror genre and another in action. Consequently, it faced challenges in meeting the expectations set by its predecessors while forging its own path. Perhaps this is acceptable, as it still delivers a raw, unforgiving film experience.

Alien vs. Predator (2004)

If “Alien³” showcases an ambitious yet imperfect film, “Alien vs. Predator” can be described as rough around the edges but skillfully executed low-quality entertainment. By successfully merging characters and concepts first hinted at in “Predator 2”, “AvP” masterfully strikes a delicate balance between mindless fun and high-stakes tension. Director Paul W. S. Anderson, no stranger to B-movies, orchestrates an epic confrontation between the iconic sci-fi characters of Alien and Predator within an ancient Antarctic pyramid, using a team of well-developed human researchers as cannon fodder for this epic battle. “Alien vs. Predator” may lack depth, but it makes up for it with its bold and clear presentation—there’s no denying that the movie lives up to its title in much the same way the original Alien films did. (It should be noted that the tagline, “Whoever wins, we lose,” is a powerful line, though the plot of the movie makes it abundantly clear that the Predators must win or else Xenomorphs will overrun Earth.)

Alien: Covenant (2017)

As a fan, I must admit that my perspective on “Prometheus” has shifted significantly since its initial release, with many now viewing it more favorably. However, in the ’10s, the film was often criticized, particularly by fans who were hoping for more traditional aliens in their “Alien” movie. This tension is evident in “Alien: Covenant,” which reintroduces the titular aliens after their absence in “Prometheus.” In terms of sheer terror, “Covenant” might be the franchise’s peak, as the Xenomorph attacks are intense, gruesome, and chaotic.

Alien: Romulus (2024)

The initial previews for Alien: Romulus, helmed by Fede Álvarez, who directed both Don’t Breathe and the 2013 version of Evil Dead, seemed to indicate a return to the spine-chilling horror reminiscent of the original film. However, upon release, it became apparent that Romulus offers more than just terror—it’s a compendium of iconic moments from the Alien franchise, skillfully blending elements from various subgenres to create an unexpectedly unified (albeit predictable) narrative. In this story, Cailee Spaeny portrays a resilient young woman who seeks refuge by looting a deserted Weyland-Yutani space station, aiming to escape her nightmarish existence on a mining planet. As expected, things take a turn for the worse when she encounters Xenomorphs, resulting in some of the series’ most thrilling action sequences. The original film’s haunted house horror is present, along with the combat-oriented action from Aliens, and Romulus seamlessly introduces the Engineers from Prometheus in a more convincing manner than Covenant. The film even features a human-alien hybrid that surpasses one of Resurrection‘s rare bright spots. This well-rounded offering is likely to appeal to fans across the Alien spectrum, though it may be criticized for being a jack of all trades and master of none (and also a rather excessive nod to the franchise’s most memorable quote).

Prometheus (2012)

In a striking shift for the Alien franchise, Ridley Scott’s comeback to the series since the 1979 original introduced a unique twist. Unlike any other Alien film, this visually captivating piece does not include “Alien” in its title and features Xenomorphs differently than viewers are accustomed. Instead, we witness proto-Chestbursters and Noomi Rapace experiences an unprecedented level of body horror as she undergoes a harrowing cesarean section to remove an alien from within her. While these elements maintain ties to the traditional Alien narrative, they take a backseat in Prometheus to its profound, intellectual terrors. The fear of encountering your creators and discovering they regard you as insignificant at best or hostile at worst is an existential dread. It’s true that some critics argue Prometheus strays from the Alien mold; however, they fail to grasp the film’s deeper, more chilling themes. In essence, Prometheus explores something far more terrifying in every sense of the word.

Aliens (1986)

James Cameron persuaded the producers to greenlight the sequel by simply writing “Alien” on a note, then changing it to “Aliens” and drawing a line through the original title, making it read “Alien$”. This cleverly represented both the film’s impact and the substantial income it was expected to generate at the box office. It was an impressive move, paving the way for numerous opportunities to explore the Alien universe further.

The extraordinary aspect of “Aliens” lies in its transformation of Ripley’s character. While she initially embodied the “final girl” trope in the first film, she assumes a leadership role in the sequel, surpassing even the macho space marines in combat against aliens and nurturing the orphaned Newt. The iconic line, “Get away from her, you beast!” that Ripley shouts before engaging the Xenomorph queen in hand-to-hand combat, is not just a memorable quote but a testament to her character’s growth. Sigourney Weaver’s performance in “Aliens” earned her an Oscar nomination for Best Actress – a significant recognition given the Academy’s usual reluctance to honor genre films.

Alien (1979)

Imagine traveling back to 1979, just as the original Alien movie was released, before eight more films expanded the Xenomorph’s life cycle from Facehugger to Chestburster and beyond. Since then, the Alien series has struggled with a consistent pacing issue due to the predictability that arises once a Facehugger impregnates a character. Even though the characters are often unaware of what will happen next, the audience is usually not, which can lead to restlessness and a sudden escalation in action in most sequels, often before they slip into formulaic storytelling.

In 1979, when Ridley Scott introduced the world to ‘Alien’, spectators were taken aback by an unexpected scene where John Hurt’s character was seen writhing at dinner and a terrifying, grotesque organ sprung from his chest. Few science fiction or horror films have managed to capture the alieness of ‘Alien’. The creature design by H. R. Giger perfectly merged with a disquieting depiction of the future, as the Xenomorph lurked within the ‘Nostromo”s machinery, systematically eliminating the crew until only Ripley was left. ‘Alien’ is a masterwork of fear and the unknown, and though some sequels that followed are impressive in their own right, none can surpass the original.

2024-08-17 05:10

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