As a lifelong fan of both the Alien and Predator franchises, I must say that my feelings towards “Alien vs. Predator” have always been somewhat complex. Having grown up watching the original films and devouring every piece of related media, I found myself both excited and apprehensive when this crossover was announced.
After watching Alien vs. Predator, I left the theater feeling disappointed and questioning if my appreciation for both franchises wasn’t deep enough to fully enjoy the film. Die-hard fans have criticized its continuity, pointing out inconsistencies and plot flaws, or expressing disappointment that AVP contradicts long-held beliefs about their beloved IPs. Some viewers who were less invested or willing to accept it as a non-canonical spin-off simply turned off their analytical minds and enjoyed the action. I found myself somewhere in between these groups, feeling underwhelmed by the ice battle’s plot and action. Despite meeting people who defend the film or enjoy it discreetly, I couldn’t get past my initial feelings. Now, years later, I’m trying to reevaluate AVP without comparing it too unfavorably to other high-quality entries because I genuinely want to like what it was attempting to achieve.
The 2004 movie, titled “Alien vs. Predator,” was overseen by Paul W.S. Anderson, a director who is renowned for my all-time favorite film and has a deep affection for both franchises, despite some criticism for his alleged bias towards the Alien series. He conceived the screenplay, an idea he had nurtured for quite some time and even proposed earlier, but it took patience to align the timing. The concept of these two creatures colliding was already in motion following a hint at the end of “Predator 2” (1990), which fueled fan excitement for the upcoming showdown. However, plans for stories featuring these monsters meeting were already in progress as early as late 1989. A script was submitted by Peter Briggs in 1991, and 20th Century Fox showed keen interest in developing the project. Unfortunately, like many large-scale projects, it faced a lot of disruptions and delays, especially when the company prioritized “Alien Resurrection” (1997), a film that some argue was less successful. By the time serious work on “Alien vs. Predator” began in 2002, there had been at least two screenplay revisions – the initial drafts were more closely related to the Dark Horse comics – and numerous individuals had been involved with and departed from the project before a solid team was assembled, considering that multiple producers needed to agree on decisions due to their impact on both significant franchises.
Multiple directors were under consideration for AVP, with Guillermo del Toro being a prominent contender who ultimately chose to work on Hellboy (2004), making Anderson the likely choice instead. At one stage, it seemed Queen Latifah might play the lead role due to her fondness for both series; however, clashes in her schedule from other projects led her to decline the part. Additionally, there were whispers that an early draft of the script included a cameo by John Yutani, a part that was suggested for both Peter Weller and Gary Busey, despite Busey having previously appeared in Predator 2.
Sigourney Weaver, known for her role as Ellen Ripley, expressed strong disapproval of a potential crossover, calling it “awful.” Given that she advocated for her character’s demise in Alien 3 (1992), and perhaps the idea of Alien vs. Predator may have influenced this decision. Contrarily, Arnold Schwarzenegger, who portrayed Major “Dutch” Schaeffer, had agreed to appear in a cameo for the movie if he lost his upcoming gubernatorial election. Unfortunately, he won, so the appearance never materialized. This situation certainly favors the Predator franchise and hints at which series was more devoted to its fans.
In the movie we’re discussing, the cast is intriguing, but what stands out most for many viewers is Lance Henriksen portraying Charles Bishop Weyland, a callback to his iconic role from Aliens (1986). Despite his captivating performance as an android, I enjoyed his conversations about legacy and illness, as well as the dramatic scene where he sets a Predator on fire to earn respect, saying “Don’t turn your back on me.” Sanaa Lathan plays Alexa Woods, a seasoned guide in harsh environments who assumes the lead role similar to Ripley. She also echoes the character of Machiko Noguchi from the comics, adding an extra layer of complexity to her performance. The selection of actresses for this role was tough, and it wasn’t an easy decision. However, the actors can only work with the scripts they are given. We see some compelling scenes featuring Lex, but not all aspects of her character resonate, such as attempting to replicate the “You are one ugly-” line from the Predator series. Colin Salmon, known for his roles in Resident Evil and Arrow, is also in this film as Weyland’s right-hand man. Unfortunately, he, like a few other familiar faces, seems underutilized in this production.
Let me put it this way: Unfortunately, I find most of these characters unmemorable. One character earned the nickname “Condom Woman” due to a rather peculiar comparison between her gun and a prophylactic; she didn’t contribute much beyond that until her demise. The Italian Archaeologist is attractive and charming, but his potential was never fully realized. If Ewan Bremmer (the Scottish chemical engineer) failed to impress with constant references to his children, then none of these static characters had a chance.
In simpler terms, the audience seems to prefer that humans are involved for dramatic conflict, but they also provide necessary exposition since the two alien races don’t communicate much. While some character development and emotional depth can be conveyed without them, one of the aliens (Grid) has minimal growth before his untimely death, and a significant scene between characters Lex and Scar (our main Predator) demonstrates that shared experiences in killing aliens and ritual scarring foster bonding. However, creating a full movie without some form of narrative can be challenging.
So far in this article, I’ve managed to avoid discussing the main storyline intentionally, as it isn’t particularly captivating. The characters of Weyland discover a temple constructed by the Predators, which they use every hundred years to test their up-and-coming warriors. Intriguingly, the humans are lured there, serving as unwitting participants in the tests for new recruits. If I took away one message from this movie, it’s that both Predators and penguins can be rather uncooperative!
In this article, I’m not claiming to be an expert on Aliens or Predators, but rather, I delved deep into addressing questions about inconsistencies and plot holes in the film. The bulk of the queries revolve around the reasoning behind certain aspects such as why Predators set things up a specific way, or how their ability to scan humans for impregnation contrasts with their inability to do so with their own kind. Many viewers are puzzled by details like the Alien gestation periods (minutes, hours, days?) and the exact locations where they emerge. There’s a plethora of questions, primarily focusing on the flashback sequence. For instance, how did eight sacrifices result in multiple Aliens? Are Predators drawn to extreme temperatures or do they simply prefer hostile environments? Why was one of their temples built under the ice? It may have been constructed long ago and the builders didn’t anticipate the impact of climate change. The featurette offers some insight into the past scenes, but it’s important to note that not everyone will necessarily agree on these matters, given that many deemed Alien vs. Predator non-canon.
In its Unrated Version, the film offers additional scenes and features, extending it by eight minutes, yet falls short in enhancing the narrative. It also includes more graphic violence, gore, and ‘slime,’ intended to compensate for one major letdown – the PG-13 rating of AVP, which leaned heavily on vivid Alien and Predator blood to portray fights. This editing resulted in less onscreen violence, focusing more on post-mortem human deaths rather than the actual violent acts. However, these additional scenes failed to satisfy hardcore fans yearning for more graphic content. There are unconfirmed reports suggesting that Anderson claimed the movie was initially intended for an R rating, but this claim is widely disputed and now thought to be a fan-generated rumor.
In AVP, when our leading duo clash, it’s generally an engaging spectacle. We witness some spectacular kills, particularly when foes are bisected or impaled, yet the reality is that these slayings often lack substance or grandeur. The Aliens lean more on their acid and tails, while Predators, being in hunting mode rather than humans, wield larger blades that can pivot, offering some inventive instances and making both species seem adaptable. I appreciated the way they dealt with the massive Alien queen in specific scenes. However, overall, it seemed many viewers desired more Aliens versus Predators or perhaps a longer exploration of those encounters.
As a longtime fan of both the Predator and Alien franchises, I found myself eagerly anticipating this crossover film. Having grown up watching these iconic sci-fi action movies, I was excited to see how they would blend together in a new story. However, upon viewing the movie, I must admit that it fell short of my expectations.
In the movie, there are hidden elements aimed at dedicated fans that might not be immediately obvious to everyone. For instance, some viewers may recognize the movie shown on the screen at the start as Frankenstein Meets the Wolf Man, a classic monster clash, and Alien enthusiasts might spot a reference to Bishop’s knife trick in a scene where Weyland plays with his pen in the same way. However, there are numerous other details that I missed, such as an image of the Alien Queen in a satellite and the character Mark Verheiden being named after a creator of the Alien vs. Predator comics. Moreover, only die-hard fans might catch that the Morse code in the movie translates to the tagline, “Whoever wins, we lose.”
Many viewers felt disappointed following Alien vs. Predator; they believed the fans ultimately lost. Critics too shared this sentiment, but the film was successful at the box office, indicating that audiences were still interested in witnessing this legendary face-off. It also performed well with rentals and home videos, yet it wasn’t until the sequel was released that some viewers truly appreciated it. Over time, AVP has garnered more fans, including James Cameron, and revisiting it has slightly improved my opinion of it (though I still find researching its lore more enjoyable than watching the movie itself). Different people derive varying experiences from controversial films like AVP, and that’s fascinating, much like space—a setting where these two characters might engage again in their next encounter.
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2024-08-14 00:42