Rendező:
David FincherOperatőr:
Alex ThomsonZeneszerző:
Elliot GoldenthalSzereplők:
Sigourney Weaver, Charles S. Dutton, Charles Dance, Paul McGann, Brian Glover, Ralph Brown, Danny Webb, Holt McCallany, Lance Henriksen (több)Streaming (3)
Tartalmak(1)
Bár Ellen Ripley sikeresen megmenekült, amikor űrhajója lezuhan a Fiorina 161 bolygón, a balesetet Newt és Bishop nem élik túl. A Fiorina 161-ről hamar kiderül, hogy a bolygó nem más, mint egy fegyenctelep, ahol a magukra hagyott rabokra van bízva, hogyan maradnak életben. Ripley-nek hamar rá kell jönnie arra, hogy bár társai meghaltak, nem ő maradt a hajó egyetlen utasa. Noha titokzatos útitársa gyilkos szándékkal érkezett, Ripley hamar rájön arra is, hogy nem a titokzatos idegen a legfélelmetesebb ellenfele. (SuperTV2)
(több)Videók (1)
Recenziók (13)
A téma jó, Sigourney Weaver nagyszerű, mint mindig, a börtönlabirintus alagútjaiban tökéletes a varázslat a kamerával és annak lencséivel, és a filmből nem hiányzik a határozott, tipikusan Fincher-féle nyomasztó szerzői töltet sem. Csakhogy ez utóbbit mintha nem sikerült volna olyan szintre hozni, amire Fincher általában képes, ami hozzásegítette volna a filmet ahhoz, hogy olyan lenyűgöző legyen, mint elődei.
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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.
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Fincher's feature debut was clearly plagued by the studio's pansy wallet and promotion, which is quite visible even years after the film managed to reclaim its well-deserved reputation. Regardless, this goes hand in hand with the trend for each director to approach it radically differently, which is also done here to great effect. The atmosphere of a penal colony, where nothing works, is definitely something to behold, especially when you look at the local population, who have clearly done a number of unpleasant things in their lives. As an added bonus, there’s also decent Goldenthal music, great camera tricks with the FPS look, and a cut-out Ellen Ripley. 4 ½. (The rest I leave to the possibilities of the expanded edition.)
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The Alien franchise is remarkable for the fact that every director has made his mark on his episode. Scott's imagination and Cameron's belligerence have been replaced by the heavy blanket of depression master David Fincher. Welcome to the bleak world of ex-convicts from which there is no escape. The third episode is not worse than the previous two, it’s just different.
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As an audio-visually powerful, toned-down, existential drama about seeking forgiveness and God in a God-forsaken place, this movie is excellent, but half way through it’s like out of nowhere Fincher remembers (or more likely the producers forced him to remember) that he is filming the new Alien and not a sci-fi adaptation of something by Dostoyevsky. So, all of a sudden he forgets about everything that came before and then launches into an absolutely regular, uninventive kill-fest that loses all of the atmosphere built up in the first half. And this goes for both the regular version and the director’s cut, which is the better of the two, but just a better version of the same and not “something completely different" as many reviewers suggest.
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