Directed by: Ridley Scott
Distributed by: 20th Century Fox
Written by Nick McCann
99/100
The vastness of space defies any and all known possibilities. Mankind is always receiving data and knowledge, and has yet to find an end to our universe’s draw or evidence of anything else out there. This uncertainty only serves to reinforce our scale among the stars while continually firing imaginations and fueling modern science fiction stories. Of all the tales that dare tell of what’s in the expanse, one stands as the ultimate reminder that we may find unimaginable hostility.
Much like other classics, “Alien” has a story that is a step forward via looking back. It progresses no differently than the tried and true 1950s B-monster films but subverts common convention in many areas. Hats off to fresh-faced Ridley Scott, directing an incredible script packed with world-building that’ll have you gripping your armrests. The gritty atmosphere, paired with a growing Lovecraftian mindset, drives tension that has you as awestruck as you are bewildered. One could argue the progression becomes a little standard once the alien rears its ugly head. Yet it’s of such slick, high-caliber claustrophobia that renders that notion unregistrable. Nowhere to run is the name of the game!
The excellent cast only makes it feel more real. Everyone is nicely well-rounded, with no one pulling more interest than another. Their many dynamics and quirks make up a refreshingly intelligent ensemble that is frequently requested but rarely gotten in horror. Of course, the standout is Sigourney Weaver as Ellen Ripley, famously rising to become THE definitive female action hero! Her toughness and range have you believing she can go toe-to-toe with the galaxy’s most deadly creature. Tom Skerritt brings gravitas as Dallas, Ian Holm is creepy in all the right ways, and Yaphet Kotto grounds the crew with working-class authenticity. Every character always finds a use and is constantly getting revolved around to stay on their toes.
“Alien” packs just as much character in its visual design. Every set contains insane amounts of detail. Cramped, industrial, on the ragged edge – there is a lived-in sense that the walls are being held together with duct tape and prayers. The cinematography captures everything under a patient lens that turns coldly indifferent when the killing happens. Additionally, the special effects feature immaculate miniatures and matte paintings that still look gorgeous after all these years. Creature effects in particular are nothing short of memorable under H.R. Giger’s demented eyes. All the alien designs are off-putting and terrifying at any stage of the life cycle. Like “Jaws,” the adult Xenomorph’s screen time might be limited, but clever editing makes every appearance count. This is cosmic horror perfection – familiar enough to understand, alien enough to disturb.
Sound design wraps you in dread from frame one. Whether surrounded by various computer screens or braving the harsh winds of LV-426’s surface, this is immersion other films can only hope to capture. Jerry Goldsmith’s haunting score seals the deal, making the grandeur of space as claustrophobic as the Nostromo’s corridors.
“Alien” is deceptively simple. Unknown creature. Trapped crew. Perfect organism. Yet decades later, nothing touches its legacy. The creature design, the characters, the world – all untouchable. This isn’t just a horror film; it’s THE benchmark that redefined what sci-fi horror could be. In space, no one can hear you scream, and “Alien” makes damn sure you will.
“Alien” Trailer
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