When the franchise returned to Scott for the prequels Prometheus and Alien: Covenant, Scott used the Alien mythos to ponder the origins of mankind and what happens when an android that looks like Michael Fassbender tries to play God-and wherein Michael Fassbender becomes scarier than the actual Xenomorphs. The fourth movie in the franchise, Alien: Resurrection, is a campy romp from the director of Amelie (Jean-Pierre Jeunet) in which an eccentric space general holds a chunk of his own brain after a Xenomorph takes a chunk out of his skull, Winona Ryder is a robot, and Sigourney Weaver’s Ellen Ripley dunks a basketball. What Aliens lacks in scares, it makes up for in firepower and iconic one-liners. The follow-up, Aliens, directed by up-and-comer James Cameron after his success with The Terminator, is a loud, chaotic action film inspired by the Vietnam War. Alien remains, to this day, scary as all hell the chestburster scene is an all-timer. But what the franchise has lost in continuity, it’s gained in the creation of some of the most ambitious projects conceived at a blockbuster scale.įor the first Alien, and his second feature film, Ridley Scott crafted a tense, claustrophobic, existential horror movie-one frequently likened to a haunted house in space. (Like most Alien fans, I’m going to pretend that the two spinoffs in which Xenomorphs fight Predators do not actually exist-those are quite bad.) Instead of following a regimented franchise blueprint like the Marvel Cinematic Universe, the series has given blank slates to its talented filmmakers. Here’s my lukewarm take about the Alien franchise: Every single film is good in its own unique way. Join us all throughout the week as we celebrate and examine the man, the myth, and his impeccable body of work. To celebrate the 25th anniversary of Se7en and the 10th anniversary of The Social Network, The Ringer hereby dubs September 21-25 David Fincher Week.
0 kommentar(er)
