Alien Resurrection Isn’t a Great Alien Sequel But Still Provides Some Fun

As a lifelong sci-fi enthusiast who’s had the pleasure of growing up with the Alien franchise, I must say that my feelings about Alien Resurrection are as complex as the DNA of a Xenomorph itself. It’s not a masterpiece by any means, but it certainly offers a fun and entertaining ride for those Saturday nights when you just want to switch off your brain.

Leading up to Alien: Romulus, I’ve been immersing myself in every piece of Alien content I can get my hands on, including the somewhat contentious Alien Resurrection. For only the second time in my life, I decided to rewatch Jean-Pierre Jeunet’s film, hoping to find a hidden gem that might have eluded me before.

Has the film gotten better over the last two and a half decades? Read on to find out.

If you’re unfamiliar, Alien Resurrection is the fourth movie in the Alien series that started with Ridley Scott’s 1979 production. After David Fincher’s contentious Alien 3 received a lukewarm response, it seemed like the franchise had met its end. However, the iconic character Ellen Ripley (portrayed by Sigourney Weaver), who is well-loved in the series, was seemingly killed off, taking down the last of the Xenomorph kind.

Sadly, just as one might expect from Hollywood, seven years later we find Ripley once more taking center stage. However, this time around, she’s not the original Ripley; instead, she’s a clone of her past self, miraculously brought back by military scientists two centuries after the events of Alien 3. Their aim is to capture the Queen that’s growing within her, but Ripley’s powerful survival instincts refuse to let her give in. To breathe new life into the character, she now exhibits characteristics of the Xenomorph – her blood is acidic, she boasts incredible strength, has enhanced senses, and can even sense her alien offspring.

Eh, sure.

As I step into this world, a motley crew of hired guns – Elgyn (Michael Wincott) at the helm, Call (Winona Ryder), tough as nails and suspiciously robotic, burly Johner (Ron Perlman), Gary Christie (Gary Dourdan) oozing badassery, a woman in a thong named Kim Flowers adding some heat, and a wheelchair-bound comrade, Dominique Pinon – join me. Unbeknownst to our human cargo, these scientists are manipulating us to breed Xenomorphs.

In essence, the aliens manage to break free, causing widespread devastation among the crew. The remaining team members (including Ripley) find themselves in a desperate struggle for survival as they face hordes of dangerous extraterrestrial creatures.

Incidentally, it’s mentioned that Ripley engages in reproduction with the Alien queen, resulting in a creature that is part human and part alien. I’m merely relaying this plot point, which was written by Joss Whedon.

In essence: Despite having numerous issues, Resurrection is quite enjoyable if you view it independently from the Alien series. As a low-budget monster movie, it succeeds due to impressive action scenes, creative concepts, and a cast that seems to appreciate the humor.

Despite its eccentric and chaotic climax, I found myself cheering for its daring, imaginative twists. After all, where else can you witness a humanoid being pulled out into the void of space via a small gap in a spaceship?

In November 1997, I chose not to attend the theater showing and instead opted for Starship Troopers, a movie that surpasses Alien Resurrection in many aspects. The following year, despite my reservations, I ended up watching Ripley’s latest adventure on video, driven by a strange fascination.

I hated it.

It was too campy for my tastes and felt more like something produced by the Sci-Fi Channel than a continuation of Ridley Scott and James Cameron’s masterpieces. Plus, it was gory as hell.

As a gamer, I can’t get enough of the raw, unfiltered violence that directors like Scott and Cameron merely suggested in their Alien films. In an attempt to outdo the slasher film craze ignited by Wes Craven’s Scream the year before, Jeunet decided to reimagine the terrifying Xenos as more common movie monsters, a shift that was later reinforced by the AvP movies. Whether this transformation was for the better or worse, it certainly made Alien 4 stand out from the crowd.

The resurrection falls short in terms of artistic depth compared to its earlier counterparts, relying excessively on familiar tropes instead. Having been raised on the masterpieces Alien and Aliens, I found it repugnant. They’ve really tarnished my favorite character.

I returned the VHS to Blockbuster and pretended the franchise concluded after Cameron’s epic.

Instead, let me clarify that I won’t categorize Resurrection as a misunderstood masterpiece. While it largely remains mediocre, it offers a fun, harmless distraction suitable for a Saturday night. The action sequences are well-executed, the acting is convincing, and some of Whedon’s concepts provoke thought. A scene featuring Ripley discovering a room filled with Ripley clones holds an emotional resonance.

In a role that seems unusually eccentric compared to others, Weaver appears to be thoroughly enjoying herself. Reminders of Ripley’s compassionate nature can be seen in her interactions with Call, while her resilience and toughness are evident in combat scenes. It’s clear that the renowned actress agreed to reprise her role after being given the opportunity to show off her quirky side.

Overall, the aliens appear quite impressive, with some areas showing room for improvement in terms of CGI quality. The opening scene featuring an escape sequence is enjoyable and at times, exhilarating.

While the underwater set piece carries plenty of tension and a few bursts of creativity:

I found it captivating how Perlman’s character develops a connection with Ripley in the film. Initially, he seems cautious around this unconventional basketball player, but gradually comes to appreciate and admire her. Similarly, Ryder’s character experiences a positive transformation and is ultimately revealed as a compassionate android.

Jeunet and cinematographer Darius Khondji opted for a comical comic book aesthetic, departing from Scott and Cameron’s dimly-lit, shadowy passages towards vibrant, well-illuminated sets that offer no room for mystery. Their aim was to rejuvenate a flagging franchise by replacing suspenseful drama with energetic, music video-esque action and exaggerated slapstick elements. Consequently, Resurrection delivers a powerful impact and includes several witty shots that stick in the mind.

In a video game-style environment, it appears that the Xenomorphs aren’t as terrifying as they were portrayed in the original Alien films. Initially, these alien creatures were shown to be intelligent and elusive, lurking in the shadows before launching attacks. However, in the film Resurrection, they transform into larger, Velociraptor-like beings that make loud roars while patrolling brightly lit corridors instead of ambushing from the darkness.

Once more, as a fun and somewhat cheesy sci-fi movie, Alien Resurrection fulfilled its purpose. On my recent watch, I found myself quite entertained, without any prior expectations. I appreciate that Jeunet aimed to take the franchise in a fresh direction, laying the groundwork for a sequel set on Earth. A sequel would be delightful.

Still, the biggest miscue here is bringing Ripley back. Like Terminator, the Alien franchise placed too much emphasis on its star. Ripley remains one of the great action heroes, but she wasn’t necessarily the engine driving the ship. Cameron succinctly wraps up her story in Aliens, forming a satisfying one-two punch with Scott’s picture. Future sequels should have presented new characters or followed Hicks and Bishop, as initially pitched by William Gibson. Then, after a few movies, Ripley could have returned for one last hurrah.

It’s great news that Alien: Romulus seems to be the sequel series fans have been eagerly waiting for, without any connection to Ripley. Perhaps this means the Alien storyline can now take a fresh, daring turn and rectify the errors of the past.

2024-08-15 00:40

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