Marigold

The genre of film science-fiction in its most mature form. Scott was able to combine excellent tricks, quality actors and, most importantly, the characteristically intellectual Dick story into a fascinating "noir" detective story of the future. The atmosphere is greatly helped by Vangelis's music and also by the fact that, rather than an action-developing plot, the film professes dialogue and slow movement forward. The fictional world around you thus acquires plasticity and, with a good constellation, engulfs you and imprints itself forever on the soul. And the story of humanity/inhumanity/artificiality is becoming more topical, not the other way around. Interestingly, the film does not win over viewers "seasonally", but gains them over time. Which, of course, is a great compliment to its qualities.

This did not work. I don't feel the characteristic atmosphere, I don't have the slightest sympathy for Ripley, and the action scenes feel like exhibitionism. If you connect the first two parts of the series into one whole and add a perspective to everything, this really failed badly.

I'm putting this film a little below Scott's original opus. Fincher's a talent, there's no denying that. Unfortunately, the third installment of the series was reportedly treated by the studio as unwanted, so it was a problem to fit it into the budget at all (which is visible in places). Yet, after Cameron's spectacularly militant shootout, this psychological play is literally a revelation in a completely repulsive space crime environment for the worst offenders. The creeping terror is trickier than ever, guns are scarce, and Ripley has to fight on two fronts -- a hungry intruder and creepy "roommates". Maybe the third film is something else entirely than what was expected, but in hindsight, I like it more than Cameron's contribution to the Alien family.

A really good action film, even one of the best. It has perfect craftsmanship, but compared to the original Alien, it's just too uniform and predictable. Cameron is undoubtedly a great fachman, but one sees through Aliens very quickly. Still, some of the ideas are unforgettable (for example, cameras in the soldiers' helmets). High above standard in the genre. And after seeing the SE I can only add another star. The excellent atmosphere is guaranteed by both the added additions (e.g. Newt and Ripley's deep relationship is much more logical) and the excellent THX packaging... I enjoyed the atmosphere almost as intensely as I did the first time. :o) Light predictability remained... I'm not so sure about the uniformity anymore. Of course, from a filmmaking point of view, Cameron did not achieve Scott's vision, but one cannot ignore the fact that his visions predetermined the form of science fiction not only in film.

A classic that nowadays affects me more with its perfect visual design by R.H. Geiger, rather than a haunting impression, as during the first watch. Yet it is impossible to admire R. Scott's skill in inducing an atmosphere of danger and working with the "established" horror techniques that have become the quintessence of modern science fiction horror filmmaking under his guidance.

I don't like horror as a genre, but survival horrors are an honorable exception. And The Thing is almost a perfect representative, apart from the repulsive "gore" scenes, it contains something much more effective – a game with the psychology of the viewer. The principle of placing a group of characters in an isolated place (in this case, the white plains of Antarctica), making it impossible to escape (in this case, a massive storm) and exposing them to an enemy that can hide inside any of them is proven, but nowhere does it work as perfectly as in The Thing. The minimalist screenplay draws attention to the raw atmosphere, the replicas of the characters are more so purposeful, everything important can be seen and, above all, FELT. Something almost physically palpable comes out of The Thing - fear is not felt by artificial props, but by real experience. When the Thing appears, there is almost relief... Real fear is ignorance, insecurity. In short, this is how I imagine the perfect horror about surviving in extreme conditions. And the atmosphere of the polar base is so unique that The Thing probably won't be improved upon any time soon.

With the exception of a few episodes, this is heavy declassification, in which the basic principles of the Star Trek series do not work. The attempt at a sociological study of coexistence on the Federation space station is boring, chatty, and generally unsympathetic. Moreover, I am still terrified by the repulsive shapeshifter and even more repulsive appearance called Quark. Mommy, I want to go back to Earth!!!

A series rejected by many, yet still excellent. After a static stay at the Deep Space Nine station, finally a proper space "road-movie". Putting a Federation crew in a situation where they are decades away from home, thereby having to confront the years-tested rules of the space fleet with a difficult reality, was excellent and fresh. Excellent acting performances, well-written characters and many great episodes. Over time, unfortunately, we also get routine and too much filler. Even so, Voyager is the rightful successor to the Enterprise, and Captain Janeway is not a disgrace to Kirk or Picard. Emancipation, my dear conservative trekkies!

The best section of the Star Trek cult, probably because it is our "contemporary". In 40 years, viewers will probably laugh at it the way we laugh at the original series today, but still, I’ve grown to like the big family under the command of the charismatic "skinhead" Jean-Luc Picard. Thanks to The Next Generation, Star Trek has become a massive fiction world with incredible sophistication. The entire Star Trek series is a celebration of human imagination and often a treasure trove of great craftsmanship (some of the works are among the best that the series has produced as a genre). It is also gratifying to incorporate literary classics into an otherwise hi-tech storyline. In short, thanks to the Enterprise of any series, we can go where no one has gone before.

Charming as an antique. I must admit that I watch it in order to collect the aesthetic weirdness that the show is crawling through. My rating may be unfairly low (understand: contemporary :o)), but most stories are built in the same way, and the humor that adorns McCoy, Scotty and (illogically) Spock in the first series had not yet emerged from the embryo stage. Yet undoubtedly a classic that started it all and the series that will be valuable material for aesthetics analyzing the 1960s. Fascinating!