Alien 4. - Feltámad a halál

Innovatív, egzotikus, rendezőileg kellemesen sajátos folytatása az Alien-sagának. Egy film, ahol nem tudod, mi fog történni tíz perc múlva. Technikailag briliáns - a víz alatti jelenetek tökéletesek! (2003.05.20)

I’m quite puzzled as to why Alien: Resurrection received such a backlash from the viewing public. Perhaps Jeunet's irresistibly decadent atmosphere wasn't quite what fans expected after Fincher's unconventional contribution. The director demolishes the myths of the entire universe and makes fun of them on top of it. In doing so, he is constantly his own man, giving Aliens his unique imprint as a French poet, culminating with the final arrival of the overgrown albino. To say that this is the worst film in the series is stupid. It's only over the years that the whole series has swelled to a cult status where everyone likes to claim their own film they like best. I’m not saying I don't do it too, but even though Jeunet's film is not one of my favorites, I refuse to denigrate it. (2009.05.30)

At long last.. As different as a sequel can be, the horror atmosphere has been replaced by an action sci-fi joyride. Whedon’s screenplay delivers a lot of unexpected situations and a solid story. It may not be as atmospheric as the first two installments, but I like its original approach too. And part four is definitely the most abundant in catchphrases. (2011.09.17)

The fourth Alien film is indeed the weakest in the tetralogy, but it is still a significantly above-average addition to the science fiction genre. It has a clearly different atmosphere from the previous three installments - it is not an intimate horror like the first or third one, nor an action-packed military spectacle like the second one, but rather a comically colorful spectacle, featuring the often-used humorous lightening in comics, and there are also self-parodic moments. The characters correspond to the comic book concept as well. We meet a gang of variously diverse cosmic pirates, eccentric self-centered scientists, and ruthless monstrous military officers. However, the flaw is that it is no longer a purely genre spectacle, but an uneven film where great moments, such as the famous underwater clash in the flooded restrooms or the duel on the elevator shaft, alternate with hesitant moments, like the use of a poorly executed mutant and above all, the rushed ending that is unquestionably the weakest part of all the films. In short, the script was hastily patched together. Unlike the previous installments, it does not work even from a logical point of view, when one considers what the aliens (including nest construction) managed to do in an hour and a half, during which the story unfolds in real-time, it is truly unbelievable even for a die-hard fan. The cast is above standard, Sigourney Weaver is great as always, Dominique Pinon is entertaining, Ron Perlman is negatively charismatic, and Winona Ryder is fragile. Overall impression: 70%. Jean-Pierre Jeunet is a great director, but Alien: Resurrection should have been entrusted to someone else. (2008.05.25)

Jeunet managed the impossible with Whedon's script on his back. He sent the weakening series back to the top, stirred up a breathtaking well of ideas, and had no problem digesting Fincher's previous vision. Each pivotal scene is a demonstration of first-class tension, and whether I am watching a perfectly timed underwater escape or a captivating panopticon of previous experiments, I can only smile contentedly at how amazingly unrestrained the entire Resurrection is. When Ripley then becomes an amazing creature with unprecedented charisma and the circle closes at the very end, I even contemplate whether this daring attempt is the best work of the saga. Ultimately, Scott's first film wins by a nose, but because the second half of the movie is the best I have ever seen in the Alienverse, there is no doubt about the highest rating. (2007.09.05)