Like most film franchises, the more films that are produced as it can become a cash grab, the more likely the quality will suffer and the Alien film series is no different. Despite this, the lore and legacy of these films has continued to grow, and despite the low quality of the worse films in the Alien franchise, they still have contributed to the overall universe that they inhabit. Sometimes this creates more questions than answers as the two most recent releases, Ridley Scott's Prometheus and Alien: Covenant, have shown us, but the films have deepened the mythology considerably. In the Alien franchise a woman, strong and smart, has always been the main character. In a film series known for horror and military action it's Sigourney Weaver's fearsome portrayel of Ellen Ripley that sells it. The Alien franchise has spanned almost 40 years, with the latest release in 2016. Plans include more entries and hopefully we'll see those at the top of the list but for now we're ranking the current eight Alien films.

Worst in the Alien Film Series

Alien vs. Predator: Requiem

Director: Colin Strause, Greg Strause Released: 2007

Monsters are Real in the Worst Alien Film in the Series

Monsters are Real in the Worst Alien Film in the Series

Despite having several on the nose homages to other entries in the series, particularly Alien and Aliens, Alien vs. Predator: Requiem is a poor film. The premise alone is hard enough to be taken seriously, and in some ways that's not the film's fault but it's the interactions between the isolated town's people that leaves something to be desired. The most disappointing thing is that the aliens themselves have devolved into nothing more than a mindless animal and combined with the overwhelming number of them it cheapens their on-screen appearances. In short, the aliens become desensitizing. The Predator continues to be shown as a more sentient being, understanding the situation where humans are just caught in the middle. Perhaps the worst facet of both AvP films is their setting on earth, which was the primary purpose of wiping them out in the previous (by creation date) films. Little did Ripley know that Aliens had been coming to earth so many years prior. It completely lowers the stakes.

Alien vs. Predator

Director: Paul W.S. Anderson Released: 2004

The Fanboy Dream

The Fanboy Dream

A somewhat interesting origin story is created here, but it is not executed particularly well. The discovery of a pyramid buried deep within the ice im Antartica is interesting, as is the assembly of a scientific team, but the fact that the remaining expeditionary crew  come complete with firearms eliminates any mystery or tension about the outcome. It's even a somewhat clever premise to get the predator and aliens to coexist, but the cleverness of the script ends there. The scenes in which it's the humans versus either the aliens or predators are mostly forgettable but several of the scenes where it is the namesake Alien vs. Predator battles are fun, particularly the first encounter where the predator utilizes all of its gadgets against multiple aliens. I understand the need for humans from a storytelling perspective but they just don't work within the action scenes. AVP is nothing special and it doesn't embrace the camp of the subject matter yet it still has a couple of interesting moments.

The Mixed Bag of the Alien Series

Alien: Resurrection

Director: Jean-Pierre Jeunet Released: 1997

The Last True Film of the Alien Franchise

The Last True Film of the Alien Franchise

Considered the  black sheep of the Alien film series (debatable with Alien 3), Alien: Resurrection gets a bad rap due to its shift in tone. In many ways Alien: Resurrection is a dark comedy and satire but this seems to have fallen on deaf ears. While this helps to address the shift in tone, much of it misses the mark because it's just not executed well. In most films, any injection of humor usually bodes well, but in a film series such as Alien, it has been despair that has been the primary mood, and Alien: Resurrection has none of that. Director Jean-Pierre Jeunet has admitted as much due to the fact that matching the previous tone (and inevitably due to Alien 3's financial and critical failure) would have been difficult to attain. Despite all of this, Resurrection still manages to be fun and have some several standout scenes. The pirate ship Betty's ragtag crew has exactly the type of camaraderie and attitudes that you'd expect and actor Ron Pearlman's Johner, particularly stands out, and provides most of, if not all of the effective comedic relief.

In one particular set-piece, the aliens swim after the protagonists underwater. Not only are the effects lovely, but the intensity and the aforementioned despair are most represented here. It's a good scene that is the main showcase of the dread seen in the prevous entries of the any entries of Alien series. This is also counter to the rest of the film. While the commercialization of the Alien has been a recurring theme, it was always a secondary one to the alien race themselves. In Alien: Resurrection, the militarization and its proxies in the form of scientists, are the primary antagonist. This minimalizes the the real threat, the alien. And it's only deep into the third act where the alien shines.

Alien: Covenant

Director: Ridley Scott Released: 2017

Answers to the Alien Franchise are Found in Alien: Covenant

Answers to the Alien Franchise are Found in Alien: Covenant

Alien: Covenant finally explains where the aliens audiences were exposed to in the first four films, came from, and it may be a disappointing answer for some. And while the focus on this point consumes much of the second half of the film there is a complete lack of ancillary character recognition or development which never creates any tension seen in Alien, Aliens or even Alien 3. All three of those movies introduced and developed their characters, which when encountering the threat, meant something. There are several deleted scenes, and particularly a online prologue called "The Last Supper" that while only a paltry five minutes is a better introduction to the characters than anything found in Covenant. In fact there is a slew of deleted scenes that would've really slowed the pace of the film and made digesting everything all the more enjoyable.

Based on the complaints it would be hard to imagine getting any enjoyment out of Alien: Covenant but there are still impressive moments; Ridley Scott's trademark beautiful cinematography and actual answers to Prometheus' questions. The answers found are steeped in Greek mythology, where at least a cursory knowledge means you will get more out of it. Similar to Prometheus, Covenant explores the relationship between creators and the created and in that there is a revealing of who the story is actually about, all disguised as a horror movie. Individual scenes do well, and again they are stunning in the visual department. The whole time you're wanting more, more of the detail that Alien and Aliens did so much of in regards to every nook and cranny of the set design, character wardrobe and of course character relations and motivations. Alien: Covenant doesn't always know what it wants to be, a philosophical piece or a B-horror movie and it exceeds at neither but doesn't fail either.

Good but Flawed Films of the Alien Series

Alien 3

Director: David Finhcer Released: 1992

Alien 3 is the Most Underrated in the Alien Film Series

Alien 3 is the Most Underrated in the Alien Film Series

Alien 3 is a horror story in terms of its production woes. First time film director David Fincher doesn't even acknowledge this film because of its problems, but his now autueristic influence was still present. Alien 3 is also the rare film in which its extended director's cut makes a significant difference in its quality.

Alien 3 is much more akin to the isolation of the original Alien and shifts incredibly away from Aliens, even offing two beloved characters from the second film in the series. This was not universally liked to say the least. However, if you can get over that, the new characters, although filling alternate roles, are quite memorable if only more subdued. While one of the largest production problems was the lack of a finished script, it would be hard to notice in the final product. The acting is very well done despite the lack of star power (Sigourney Weaver reprises her role). It has a Shakespearean quality about it as it includes many veterans of British television. As cumbersome as this debut may have been for Fincher, his directing and cinematography are still top notch. And the complaints with the lackluster story of Ripely stuck on a prison planet with no lifeline and no weapons are correct in that it isn't spectacular and it does seem to be trodding,  but the extended edition adds a completely new subplot. It brings to the forefront a character  who in the original film, is nothing more than an afterthought. This does a lot to alleviate the twiddling of thumbs in the second act as well as set up the encouraging third act that despite its lackluster CGI has some of the best alien encounters in the Alien franchise. Alien 3 seems to suffer only because of the iconic and masterful films that preceeded it. Even when considering it's predecessors Alien 3 still manages to be a good film, just not part of the greatness that inevitably it had no chance or reaching.


Director: Ridley Scott Released: 2012

Are the Engineers the Architects of the Aliens?

Are the Engineers the Architects of the Aliens?

Prometheus had the promise of the thinking man's entry into the Alien series but didn't quite connect with several flaws damaging the plot. Prometheus is a prequel unto the first film (chronological by creation), Alien. It seeks to explain the origin of the aliens by exploring the origin of human life. The opening of the film is beautiful and shows just enough the have you intrigued, but by the second act the plot is broken by unbelievable conflict and strange character actions. There is an action sequence in the middle of the film that seems completely out of place and there is no explanation as to why it happened. Thankfully, once the uneven second act concludes Prometheus finds its footing. Character motivations are still hard to believe but the previous events have at least set new actions in motion.

The promise of answering the origins of the aliens, or the human architects for that matter, is never quite answered. This disappointment would have been mitigated if the earlier character decisions were more believable. Despite all this, Prometheus still manages to be an engaging film. It adds to the lore of the Alien universe and you'll learn what that space jockey from Alien finally is. The cinematography and score are both exquisite and Michael Fassabender's performance as the android David, stands out as the most fleshed out character in terms of motivation but the storytelling doesn't match the scope that was set up at the beginning.

Best of the Alien Film Franchise


Director: Ridley Scott Released: 1979

Alien is a Haunted House in Space

Alien is a Haunted House in Space

When it boils down to it, Alien is a horror movie. But the setting sets it apart from everything in the genre, even today. In fact, Alien essentially created Sci-fi Horror as a sub-genre and it has no equal. Every instance of Alien is done so articulately that it set the bar high for the entire Alien film series with Director Ridley Scott being praised for his 'genius.' Scott's genius however wasn't in interpreting the script or adjusting the dialog, it was the literal attention to detail. In so many films, sets are created to aid in the storytelling, but with Alien the setting is used as a character itself. Early in the film, before any of the crew is introduced the camera moves through the desolate ship as door hatches slide open, vents shoot exhaust and ominous sounds of the uninhabited vessel does more than set the tone, it introduces you to the haunted house, face to face. The sequel to Alien, Aliens, pays an homage to this scene but it's never equaled in the entire post Alien franchise.

Alien also excels in two other areas, characters and pacing. Because of the relatively minimal crew of the spaceship Nostromo, each character gets some time to establish motivations and most of all, personality. These aren't cut and dry stereotypes. Yes, each character has some stereotypes associated with them; the engineers are brash, rude and blue-collar, the science officer is pompous, the navigator is the fearful and a weak woman, but they are by no means one-dimensional, and the way they play off of each other is necessary for them to either rise or fall in the moment and thus have it succeed. Because there is such time spent introducing the crew"s vessel, discussing the mission, exploring the distress call and even once the initial encounter takes place, everything is done in detail. It's a slow burn that when terror finally strikes, makes it all the more effective.

Alien is a science-fiction horror film, and it does it well, but there are deeper themes at play. While not easily apparent without context, Director Ridley Scott has explicitly mentioned that Alien is an allegory of the anxiety of men with regards to feminism. The crew is a representation of the workplace as a home to equality and a place where stereotypical gender roles have been ended. The alien gestation and genesis leads to its birth, a fear that is highly rational and one that women constantly have to face whereas men have not. It's subtle but this secondary fear that is tapped into, while invoking a grotesque reaction, is also making it a subconscious one.


Director: James Cameron Released: 1986

The Best Film in the Alien Series

The Best Film in the Alien Series

It's a good problem to have that the best two films in the franchise are all but equal, but Aliens is not only the best in the series, but one of the best movies of all time. The marketing described Aliens as a science-fiction movie focused on action, but it's filled with as much dread and horror as the original. If anything, the Xenomorphs are even more terrifying because between trained soldiers, advanced technology and human intelligence, their relentlessness is even more of a burden. Like Ridley Scott before him, James Cameron is a master of detail. Featuring some the best set design, Aliens also adds small details to the characters as well. Many of the Colonial Marines are hardly acknowledged directly but can be spotted and differentiated by the custom decals that populate their armor, or sometimes it's a couple of one-liners that give them just enough of a personality. The marines that make it the longest however are infinitely memorable. The space marine formula has been copied and tried numerous times since but has never matched the source material.

Aliens also cements Ellen Ripley's status as a heroine. The last 45 minutes is pure feminism. Absolutely no man thinks Ripley is anything but bad ass as she transcends sex altogether. It's a great extension of the first film's broken down gender stereotypes, essentially turning Ripley into a more complicated version of the muscle bound action tropes of the 80s. 

While Aliens is more conventional than Alien, it's focus is less on subliminal fears and more of exploring the family unit and the trust that it bestows. There is a severe amount of distrust when the film begins, and by the second act there is an obvious bond between Ripley, Michael Biehn's Corporal Hicks and Newt. It's in this family unit, and the family unit of the marines that becomes everpresent throughout the film. It creates the connections, relationships and sometimes irrational motives of each, but they are believable because of those details that are present from the first to the last scene.