The least successful film in this series was directed by stylemaster (and content-underachiever) David Fincher. Ripley, the only survivor of her past mission, awakens on a prison planet in the far corners of the solar system. As she tries to recover, she realizes that not only has an alien gotten loose on the planet, the alien has implanted one of its own within her. As she battles the prison authorities (and is aided by the prisoners) in trying to kill the alien, she must also cope with a distinctly shortened lifespan that awaits her. But the striking imagery makes for muddled action and the script confuses it further. The ending looks startling but it takes a long time--and a not particularly satisfying journey--to get there. --Marshall Fine
(15 votes)
2.
Lt. Ripley (Sigourney Weaver) is the lone survivor when her crippled spaceship crash lands on Fiorina 161, a bleak wasteland inhabited by former inmates of the planet’s maximum security prison. Ripley’s fears that an Alien was aboard her craft are confirmed when the mutilated bodies of ex-cons begin to mount. Without weapons or modern technology of any kind, Ripley must lead the men into battle against the terrifying creature. And soon she discovers a horrifying fact about her link with the Alien, a realisation that may compel Ripley to try destroying not only the horrific creature, but herself as well.
(15 votes)
3.
David Fincher's feature debut, ALIEN 3, picks up almost directly after the events in ALIENS, finding Ripley (Sigourney Weaver) frozen in suspended animation as her ship crashes on Fiorina 161, a prison planet. When awakened by the prison's staff, she discovers that she is the sole survivor of her crew. Trapped on a barren planet with convicts and no weapons of any kind, Ripley soon realizes that an alien was also on the ship and has survived. As the savage creature begins to massacre inmates, Ripley bands together with the remaining prisoners and attempts to destroy it by wits alone.
Filmed at a time when big guns and high technology dominated the screen, ALIEN 3 deserves commendation for its unique premise--battling a vicious alien creature with no weapons and almost no resources whatsoever. This scenario makes for an unusual and intriguing science fiction thriller that is also notable for Fincher's bleak industrial visuals; the film was nominated for an Oscar for Best Visual Effects.
(15 votes)
4.
The Terror Returns in the Third Chapter of the Alien Sci-Fi Saga!
Contains the original 1992 theatrical version and the all-new 2003 special edition with 30 minutes of never before seen footage!
Ripley is the sole survivor after her escape pad crash-lands on Fiorina 161, a bleak planet inhabited by former inmatese of a maximum-security facility. When she realizes an alien was also aboard her craft, she is shocked to learn the inmates possess no advanced technology or modern weapons. Yet no weapon can help Ripley after she learns that the alien terror has taken on a frightening and new personal dimension.
(15 votes)
5.
Lt. Ripley crash-lands on Fiorina 161, a bleak wasteland inhabited by inmates of the planet's maximum security prison. Her worst fears are confirmed when she discovers the presence of an Alien aboard her craft. She soon discovers a horrifying fact about her link with the Alien.
(15 votes)
6.
Directed by stylemaster David Fincher, who went on to greater things with Seven and Fight Club, Alien 3 was the least successful of the Alien series at the box-office. Ripley, the only survivor of her past mission, awakens on a prison planet in the far corners of the solar system. As she tries to recover, she realises that not only has an alien got loose on the planet, the alien has implanted one of its own within her. As she battles the prison authorities (and is aided by the prisoners) in trying to kill the alien, she must also cope with a distinctly shortened life span that awaits her. But the striking imagery makes for muddled action and the script confuses it further. The ending looks startling but it takes a long time--and a not particularly satisfying journey--to get there. --Marshall Fine, Amazon.com
On the DVD: The clarity of the digital picture throws light into some of Fincher's darker recesses, but is unkind to the primitive computer animation (the CGI alien is never convincing). Compared to the Alien DVD there are few extras, although a "making of" featurette that covers all three movies is included.
7.
This deluxe five-disc package shows off not only the merits of the films on offer but the wide possibilities of the DVD medium. Even if you're among the many that only rate two or three of the Alien films, this is still an essential purchase. (The jury is still out on the interesting-but-muddy Alien 3, directed by David Fincher--who went on to make Seven and Fight Club--while Alien: Resurrection by Jean-Pierre Jeunet of Delicatessen fame is the nearest the series has come to an ordinary movie.)
Although more than 20 years old, Ridley Scott's Alien (1979) has hardly dated. It's a film of suspense and terror rather than action and excitement, as disturbing (if illogical) as ever, thanks to Swiss-artist HR Giger's visionary monster design, rooted by a clutch of interesting Anglo-American actors (Sigourney Weaver, Yaphet Kotto, Ian Holm, John Hurt, Veronica Cartwright, Harry Dean Stanton, Tom Skerritt). Weaver, making her career breakthrough here, slowly emerges from the pack as the survivor, but the sequel, Aliens (1986), really puts her acting skills (for which she was Oscar-nominated) centre-screen, as the maternal warrior-woman whose compassion makes her fitter to survive than the gung-ho space marines. Titanic director James Cameron's action chops are demonstrated best in the series' duel between Ripley and the "bad mother" alien queen. Watched back-to-back, even the less-satisfying later films work as developments of Weaver's Ripley character, as she becomes a tired martyr in Alien 3 (1992) and is reborn as a part-alien clone in Alien: Resurrection (1997).
In this box set, all four films are presented in widescreen aspect ratios derived from pristine prints allowing you to discern more in the shadows than you get in even the best video editions. The imaginatively designed interactive menus flash the logos and computer codes of Weyland-Yutani (the evil corporation in the films) helping you to "access transmission". The digital English soundtrack can be augmented with optional subtitles in English, Swedish, Norwegian, Danish, Finnish, Portuguese, Hebrew, Polish, Czech, Hungarian and Icelandic (impress your friends by reeling off the Hebrew for "Get away from her, you bitch"). Alien has an informative audio commentary by Ridley Scott (whose obsession with detail, see for example his recent Gladiator, suits him perfectly to the task of talking you through his typically hyper-designed films). Also included are deleted scenes and outtakes (such as the until-now-legendary sequence showing the ship's captain in a cocoon, plus a few clearer looks at the original beastie), several trailers, tons of production paintings and stills, the storyboard, an alternate music track and the original score in isolation.
The sequels all have trailers, but the extras diminish with each disc. The "Director's Cut" included on Aliens (17 crucial minutes longer than the original theatrical release, which means you find out Ripley's first name is Ellen) has an interview with Cameron and some backstage footage. Alien 3 contains a "making of" documentary that actually covers all three films, while Alien: Resurrection only has a brief making-of "featurette" (oddly, neither Alien 3's director Fincher nor Resurrection's Jean-Pierre Jeunet are interviewed, and Jeunet isn't even mentioned). An extra fifth disc, free with the set, contains "The Alien Legacy", an hour-long documentary on the making of the first film, concentrating on the script, design, effects, production and direction. --Kim Newman
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