At the beginning of Andrew Patterson’s The Vast of Night, we are shown a vintage television set, on which we will watch the remainder of the film, the narrative of which is housed within the The Twilight Zone-inspired show Paradox Theater.
With Alien: Covenant on the horizon, we take a look back at the Alien franchise as a whole. Which means, we make unnecessary and often unfair comparisons between films with vastly different creative teams at the helm.
There are eight films that feature the H.R. Giger xenomorph alien, and we are going to rank them all. Yes, including Alien: Covenant.
Alien was set against the backdrop of corporate struggles between white collar and blue collar. Aliens: on the backdrop of ragtag soldiers not understanding the gravity of their situation; an extended metaphor for Vietnam, if you will. Alien 3, although flawed for it, is about religious persecution by way of prison purgatory.
Alien: Covenant? It is set on the backdrop of ironic lost love. Thanks, Hollywood.
In preparation for the May release of Alien: Covenant (Dir. Ridley Scott), CineFiles is looking back at the decades-spanning horror sci-fi franchise. In this installment, we look at the ill-received Aliens vs. Predator: Requiem, the second film to pair the two horror monster heavyweights.
2379, hundreds of years after her death, Ripley (Sigourney Weaver) is cloned by United Systems Military in order to extract the xenomorph larvae from her pregnant stomach.
A simple setup: another space station, another alien, another situation Ripley has to get herself out of. If it ain’t broke?
Alien: Resurrection is director Jean-Pierre Jeunet pre-Amelie and writer Joss Whedon just as he was finding success with Buffy the Vampire Slayer. Two heavy-duty cinematic work horses behind this studio-infiltrated franchise sequel. What could go wrong? Continue reading Alien: Resurrection (1997) Movie Review→
There is a stigma to Alien 3, the third installment in the massively popular Alien franchise and David Fincher’s first directorial effort. Pulled out of the world of music video directing, Fincher was given the lofty task of continuing the sci-fi horror series. The end result was massive studio interference that led to two drastically different cuts of the film.
In preparation for the May 19 release of Ridley Scott’s Alien: Covenant, CineFiles is taking a retrospective look at all of the Alien films. To begin, we look at the 1979 original, Alien. The film is largely heralded as a classic, and for good reason. Let’s get into it.
German indie horror flick UFO begins in true Blair Witch fashion, with a young group of students filming a documentary. Coming from a film student who is learning similar production techniques, I can appreciate these opening shots. One person holds up a plastic card to gauge the white balance while another assesses the costuming of the subject of the interview while another asks for a sound level check.
As the group prepares and begins the interview of two workers at a zoo, the animals start going crazy over what appears to be a comet falling out of the sky. The film crew makes the democratic decision to ditch their zoo documentary in order to chase the fallen space object.
The October slate of movies this year stirs up a distinct feeling in me: Hesitation. There are plenty of films that I hope will blow me away, but, as I outline below, I have my reservations about many of them.
Note: for the sake of this series of articles, the “Fall movie season” refers to the span of time beginning with the first weekend after Labor Day weekend and ending with the last weekend in December.