Ranking the Alien Films from Worst to Best
The “Alien” franchise (1979-2017) is one of these cases that even with some disappointing entries, its several directors have managed to bring something unique to the series. Each entry is visually and tonally distinct and even those films that have been less received have qualities that movie aficionados have come to embrace in the long term. With already two films (“Alien“ (1979), ”Aliens” (1986)) being heralded as classic staples of horror and science fiction cinema influencing thousands of filmmakers and actresses and creating even more imitators, the franchise has been expanded in cross-overs (“Alien Vs Predator“ (2004), “Aliens Vs Predator: Requiem” (2007)) and recent attempts sought to revive it with the return of Ridley Scott (“Prometheus“ (2012)). It is time to rank all the related “Alien” films from worse to best.
8. Alien Vs Predator: Requiem (2007)
Director: Colin and Craig Strause
By far the worst and most pointless “Alien” related film, the directing duo of Colin and Craig Strause promised ultra violent kills after Paul WS Anderson’s take in 2004 favored a toned down PG-13 atmosphere. Yet, writer Shane Salerno does not know what to do with the two monsters. Unlike Anderson’s effort that subtly expanded the mythology of both the Alien and the Predator, Salerno takes the action into a middle of nowhere US town with all the traditional stereotypes of human steaks running amok and reducing the famous creatures to Jason/Michael Myers hybrids that appear and disappear when the plots call for it. The lack of thrills, a truly abysmal cinematography and a particularly distasteful sequence in a maternity ward makes this entry a pointless cash grab utterly devoid of creative substance and style.
Best moment: None.
7. Alien: Covenant (2017)
Director: Ridley Scott
After the underwhelming reception of “Prometheus”, Scott promised to revisit the Alien world properly this time around removing in the process ambiguous interpretations. Despite high production values, a technical proficiency that is displayed at every frame, beautiful New Zealand landscapes, an eclectic cast and the return of the ominous xenomorph, “Covenant” was an even bigger disappointment than its predecessor. An overwhelming amount of stock characters (some do not even have names), plot holes, illogical decisions and a misplaced heavy dose of philosophical existentialism through lengthy conversations puts “Covenant” at the bottom of this list. Besides an well-conceived sequence with the back-burster and a strong marketing campaign, “Covenant” does not bring anything new to the table.
Best moment: The back-burster scene. If only the rest of the film was as tense.
6. Prometheus (2012)
Director: Ridley Scott
“Prometheus” suffers from the same problems that plagued “Covenant”: idiotic characters, massive plot-holes, pointless subplots and most importantly a lack of identity. The film cannot decide whether it is an “Alien” prequel or a movie set in the same universe. The final product is both disappointing and underwhelming with a surprising lack of scares and excitement. The much hyped return of Ridley Scott’s to the genre he defined twice was betrayed by messy rewrites. Nevertheless, Noomi Rapace is a solid lead complemented nicely by Michael Fassbender’s Peter O’Toole inspired performance, the visual and production designs are off the charts with flawless compositions and there is an appropriate sense of dread. There are some interesting ideas scattered around but these unfortunately are left unexplored leaving the whole thing a half-baked mess.
Best moment: Performing auto surgery.
5. Alien 3 (1992)
Director: David Fincher
A troublesome production since its inception, the much delayed and hotly anticipated sequel was initially an underwhelming experience. With several creative voices behind it that resulted in David Fincher denouncing his Hollywood debut, it is a miracle that “Alien 3” was released. Rectifying the end of “Aliens” in ill-conceived fashion, Ripley now battles the mischievous xenomorph in a prison planet. The ideas are not bad supported by a religious horror like atmosphere and a complementing production design of decay but the interchangeable prison characters who all look and talk the same makes it hard to emotionally invest to someone besides Ripley. Yet, Fincher manages to imbue a strong visual style, there is a palpable sense of melancholia throughout elevated by Elliot Goldenthal’s inspiring score and Weaver returns comfortably to the role that defined her to explore further the damaged psyche of Ripley.
Best moment: The Alien lives.
4. Alien Vs Predator (2004)
Director: Paul WS Anderson
A controversial choice for sure but time has been kind to Paul WS Anderson’s “Alien Vs Predator”. Despite a numb PG-13 rating and the existence of almost one dimensional characters, Anderson expands smartly the Alien/Predator mythology with a clever set up favoring atmosphere similarly to John Carpenter’s “The Thing” (1982). Although it is not scary, there are some inspired action moments which are supported by phenomenal production and sound design that ensures every new chamber is unleashing a new trap in the form of an ever shifting pyramid. Anderson makes maximum use of his budget and has solid action ideas while putting strong emphasis on the practical make up and monster effects by the legends that Alec Gillis and Tom Woodruff Jr are. It is substance over style - some shots bear a Lovecraftian beauty to them, with a clear love for the source material.
Best moment: The Alien Queen runs loose.
3. Alien (1979)
Director: Ridley Scott
In perhaps a moment of heretic and cinematic weakness, “Alien” is in the third place. This cinematic behemoth of science fiction horror created countless imitations with its novel production design, a monster that no one has come even close to replicate or surpass (by the great Swiss artist HR Giger) to this day, a strong and enduring female heroine in the form of Ellen Ripley and Jerry Goldsmith’s spot on score. Scott’s direction makes the most out of the claustrophobic setting of Nostromo presenting seven distinct ordinary individuals that are forced to battle an unstoppable and otherworldly foe. He stages beautiful sequences of hair raising tension that invoke the primal fear of bad things lurk in the dark with extreme precision focusing more on the psychological terror rather than full blown gory sequences. Sigourney Weaver plays Ripley with the appropriate amount of ferocity and vulnerability giving birth to an iconic character.
Best moment: The Alien lives (again!)
2. Alien: Resurrection (1997)
Director: Jean-Pierre Jeunet
“Alien: Resurrection” was an unusual Hollywood debut for Jean-Pierre Jeunet, a Frenchman that barely spoke English and relied on excessively formalistic films (“Delicatessen“ (1991), “City of the Lost Children“ (1995)). Joss Whedon’s script brought cleverly back Ripley while making interesting remarks about the ethical use of biotechnology and genetic engineering that seem highly relevant today. Clearly a triumph of style and the best looking of the series, Jeunet employs a grand scale production design for USM Auriga by Nigel Phelps, a saturated emetic and green cinematography by the legend that Iranian Darius Khondji is encompassing the vast corridors and baroque rooms of a military spaceship, each one bearing a unique and distinct look and an appropriately anachronistic costume design. Jeunet brings a ferocious energy to the proceedings by combining Scott’s horror approach with Cameron’s rollercoaster nature while bizarrely emphasizing erotic undertones (particularly lesbian ones), heavy doses of black comedy that betray his European humor and making sure that his entry is the goriest in the franchise. Weaver having the time of her life as the reborn Ripley brings something new to the legendary character and most of the cast have enough material to make an impact, especially Ron Perlman’s brute Johner and Dominique Pinon’s disabled mechanic which provides the action an interesting dynamic. Misunderstood by the time of its release (at least in the US), “Alien: Resurrection” has too many weird elements for mainstream blockbuster but boasts enough spectacle to separate itself from the other entries; its underwater chase sequence is a masterclass in direction, staging, tension and action with a pulse pounding score of John Frizzell with all the actors doing their own underwater stunts!
Best moment: The underwater chase sequence, hands down.
1. Aliens (1986)
Director: James Cameron
The undeniable king of the “Alien” franchise, James Cameron’s “Aliens” is one of those sequels that managed to expand the mythology of the original in novel and organic ways. With heavy militaristic tones in display, a young but talented cast and scenes of excruciating suspense taking place in the wonderfully crafted claustrophobic sets of Peter Lamont (“Titanic“ (1997)), Cameron created a science fiction action horror rollercoaster ride that does not forget to entertain (e.g., the one liners are spot on) raising the stakes with each unique segment. James Horner’s score is now legendary considering it was composed within three weeks, a different beast from Goldsmith’s work while Adrian Biddle’s cinematography became a staple of the 80’s. But it is the distinguishable yet likeable characters that make the film work: Sigourney Weaver creates an action heroine that film fans deserve without being exploited because of her sex while fan favorites Jenette Elise Goldstein and Bill Paxton steal the show as Privates Vasquez and Hudson respectively. And despite though all the technical efficiency, impressive creature effects, shootouts, chases and explosions, “Aliens“ has a thoughtful emotional core; a tale of lone survivors and a celebration of motherhood in the eyes of impossible odds. It is simply a perfect film in any way.
Best moment: Too many to chose from but the reveal of the Alien Queen is still a jaw dropping moment without an ounce of CGI