CFE's 100 Science Fiction Film Countdown

[Aesop Rocks]

Both T2 and ALIENS also feature the standard sequel ending of "let's repeat what we did in the first one, only bigger".

Oh you're silly.

 

[TruerToTheCore]

(That's no response to you, Solidus. I am fine with your opinion it's just not mine.)

The T1 time travel thing is pretty much clear and it works from the internal logic: SkyNet lost the war but sent back one Terminator as a last resort. The Terminator wants to kill John's mother but failed. Thus the war is lost but through a temporal paradox SkyNet gets to be build and ironically it made the birth of John Conner possible. It's all fate, the Terminator never had a chance because it all was fate. Everything in the past and future has already happened. You cannot change it.

In T2 this gets more complicated. Yet ANOTHER Terminator, sent into another time and destroying SkyNet which has never existed then (according to the original deleted ending). Suddenly it's possible to change time.

It's not that problematic to me, I mean, T2 is a big action blockbuster with happy end, so it's fine with me but the whole importance of the first movie is disminished. That's how I feel about it. And to keep it simple is always better, especially with time travel because then it gets messy.

 

[Evil Twin]

ALIENS a standard sequel? It's a completely different GENRE than ALIEN.

And T2 is a big action blockbuster, T1 was more a indie horror thriller.

"Standard Sequel Ending" guys.

Which movie am I describing.

After narrowly escaping an explosion, Ripley finds out that her escape craft isn't as safe as she thought. There's an alien stowaway. She flees from the creature, suits up, and succeeds in blowing it out of the airlock.

After a chase culminating with the Terminator and a big truck crash, the survivors flee into an industrial facility, there the Terminator meets it's ironic fate in the industrial processes.

Which is not to say that Cameron doesn't add things to the sequel versions. He does. But, he's merely making the basic endings bigger. See also: George Lucas pulling out the Death Star again for RotJ and repeating the basic planet fight, jedi duel, space battle template for TPM.

 

[CFE]

#9

THE TERMINATOR (1984)

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Directed by ... James Cameron
Written by … James Cameron and Gale Anne Hurd
Additional Dialog written by … William Wisher Jr.

Executive Produced by … John Daly and Derek Gibson
Produced by … Gale Anne Hurd
Cinematography by ... Adam Greenberg
Set Decoration by … Maria Rebman Caso
Costume Design by … Hilary Wright
Art Direction by … George Costello
Visual Effects by … Fantasy II
Terminator Effects by … Stan Winston
Editing by ... Mark Goldblatt
Original Motion Picture Score composed by ... Brad Fiedel

Arnold Schwarzenegger ... The Terminator
Michael Biehn ... Kyle Reese
Linda Hamilton ... Sarah Connor
Paul Winfield ... Lieutenant Ed Traxler
Lance Henriksen ... Detective Hal Vukovich
Bess Motta ... Ginger Ventura
Earl Boen ... Dr. Peter Silberman
Rick Rossovich ... Matt Buchanan
Dick Miller ... Pawnshop Clerk
Shawn Schepps ... Nancy
Bruce M. Kerner ... Desk Sergeant
Franco Columbu ... Future Terminator
Bill Paxton ... Punk Leader
Brad Rearden ... Punk
Brian Thompson ... Punk
Ed Dogans … Cop in Alley
Stan Yale … Derelict in Alley
Joe Farago ... TV Anchorman
Hettie Lynne Hurtes ... TV Anchorwoman
Wayne Stone ... Tanker Driver
David Pierce ... Tanker Partner
John E. Bristol ... Biker at Phone Booth
Chino 'Fats' Williams ... Truck Driver
Gregory Robbins ... Tiki Motel Customer
Marianne Muellerleile ... Wrong Sarah
Tony Mirelez ... Gas Station Attendant
Philip Gordon ... Mexican Boy (long shots)
Anthony Trujillo ... Mexican Boy (close-ups)​

A human-looking, apparently unstoppable cyborg is sent from the future to kill Sarah Connor; Kyle Reese is sent to stop it.

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The thing that won't die, in the nightmare that won't end.​

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By the mid 1980s, science fiction was on a collective high with the release of “Return of the Jedi” and the completion of the “Star Wars” trilogy.

Little did anyone know…one of the genres foremost contemporary authorities was about to his his official debut (“Xenogenesis” and “Piranha II” notwithstanding) with a story of time-travel and terror…of death and fate…of humanity and courage…of hope itself.

Truly, James Cameron made quite the first impression with 1984’s “The Terminator.”

Set before the backdrop of present day (“1984&#8221 Los Angeles, an ominous figure arrives from the year 2029 in a flash of blue electrical discharge…a Terminator (Arnold Schwarzenegger), a metallic endo-skeleton concealed by living tissue, skin, blood, hair and the works. Meant to be the ultimate infiltration unit, the Terminator has been built to walk amongst society undetected. And he has been given a single mission; a lone objective.

Terminate Sarah Connor.

Sarah (Linda Hamilton) is a college student working her way through school as a waitress when she’s not spending time with her roommate Ginger (Bess Motta) and Ginger’s boyfriend Matt (“Top Gun”s Rick Rossovich).

The truth? She’s much more than that.

According to a future that has already been written, a super computer called Skynet was built to be the United States’ utmost defense system…capable of protecting our interests both national and international without risking the lives of human beings. However, the advanced artificial intelligence placed within the construct became self-aware…and deemed that humanity was a significant threat.

The decision: Utter Termination.

Skynet launched the country’s nuclear warheads, engulfing the lands across the Atlantic in fiery death that led to retaliation. Having little to fear of the devastation of the bombs, Skynet watched as mankind was laid waste…dust to dust.

In the year 2029, a band of human resistance fighters wage a never-ending war with the machines built by Skynet…from the dreaded Hunter-Killer patrol units to the deadliest machine of all…the Terminator. Discovering a Lab Complex where a Time Displacement unit resided, a lone warrior from the resistance named Kyle Reese (Michael Biehn) volunteered to travel after the Terminator to 1984…

The leader of the resistance that sent him?

John Connor…Sarah’s unborn son.

Now, Kyle is the only man capable of standing in the way between Sarah and the Terminator…but with the primitive weapons of the late 20th century put up against an unstoppable cyborg with one-minded determination to achieve its objective, hope is scarce…but not out of reach.

Meant to showcase Cameron as a fully-fledged director, “The Terminator” became an instant hit when it was released.

It changed the game of science fiction and, along with “Alien and “Blade Runner” before it, proved that compelling Sci-Fi didn’t have to have lightsabers and a George Lucas script…and that Sci-Fi could in fact successfully avoid living under the looming shadow of “Star Wars.”

The greatest aspect about “Terminator” are its notions of the significance of human life…and that one, even seemingly unimportant life, is just as precious and valuable as any other.

The film comments slightly on the impending dangers that could arise with the increasing advances of technology. If we, in our zeal to claim technological superiority, allow it to slip out of control it could mean our downfall (the sequel admittedly delves into this idea much more). It also, through its title character, hints at the idea that society has become so ambivalent and desensitized that a robot can walk amongst us undetected…that we’re all drones, consumers…given commands and expectations we’re supposed to fulfill and live up to by default; as if we…like a machine…have been programmed by society.

If the world can become so cold and uncompromising that a robot can infiltrate and fit right in, something is seriously wrong.

Also, given the year of the film’s release, it also comments very hauntingly on the possibility of nuclear war…perhaps as a result of the recent Arms Race between America and the Soviets. While cyborgs from the future may be the stuff of science fiction, the threat of a nuclear holocaust is not…and “The Terminator” quite effectively popped the proverbial bubble of safety we all seemed to think enclosed us (though the bubble has been popped more effectively since…just think about the way people lived in America before and then after 9/11…or the difference in how things were before and after the bombings in London.).

Despite several (and afforded) claims that “T2” is the best film in the “Terminator” series, I’ve always been partial to the original film.

For one, it set the stage…the tone of the universe upon which the entire mythology would be built.

It’s also the only film in which the title character actually kills people…which is funny when you think about it (sort of like when you found out Superman didn’t throw a single punch in “Superman Returns&#8221. Three films (excluding “Terminator: Salvation” which, CG cameo aside, didn’t truly feature Schwarzenegger) and Arnold only ‘terminates’ people in the first (Yes, I know full well he also kills the T-1000 and the T-X- in the sequels, but there’s an obvious difference).

But overall, while the other three films are larger in scope…”The Terminator” has (in my opinion) more atmosphere than any of them.

It’s dark and dank…seedy and urban. It’s moody and has an almost horror film dynamic that the others lack. Very much like the difference between “Alien” and ITS three sequels (where one is a suspenseful thriller the others are more action-adventure based) the original “Terminator” just has a wonderful sense of character to it. Perhaps this stems from Jim Cameron having to get his vision across on a tighter non-budget through guerrilla techniques. When you don’t have money to fall back on, you tend to get more inventive with your shooting, your storytelling and how you pull off effects. This works in “The Terminator”s favor.

The film’s plot is also, unlike the sequels, more centralized and character driven rather than hinging on the spectacle and stakes of the world being at risk.

What’s also great about the film is its being heavily steeped in 80s lore. The film is very much an 80s movie with an 80s aesthetic. Along with films like “Back to the Future,” “Ghostbusters” and “Highlander,” “The Terminator” IS in fact dated…but it’s dated in a charming way that never intrudes on the plot or the reverence of the film’s message or its characters.

Speaking of which, the cast of the film is absolutely wonderful.

As opposed to the sequels (though the cast in “T2” is equally impressive), the cast of the original film is so rich in the various dynamics working throughout it. The face, gravitas and demeanor of every cop, every club-hopper and all of our main players bring a certain luster to “The Terminator” that I love…making it feel alive and vibrant.

The Terminator is Arnold Schwarzenegger’s most iconic role and, as I said before, this is pretty much the one and only instance where the Terminator is fully immersed in being “The Terminator.”

There’s no resetting the CPU…no learning the thumbs up or having to protect whiny Claire Danes…

This is the Terminator as he was originally intended. A cybernetic bringer of death that knew no pity…no remorse…no fear…that never ate, never slept, never stopped. Arnold’s initial portrayal isn’t all warm and fuzzy or spouting off one liner after one liner for the sake of a pity-laugh.

Here he was blowing cops away…walking around in broad daylight armed to the teeth without a care. He was a brutal force of futuristic nature and you can tell, despite Arnold having to forsake human emotion, that was has relishing in it.

Then there’s Linda Hamilton as earnest Sarah…a beautiful portrayal with wonderful character development. I’m not saying that the character wasn’t developed in the sequel, but there’s a definite concept at work here…one of going from an established point A early in the picture to a clearly defined point B by the film’s end.

Sarah’s biggest transformation as a character happens here and that dynamic allowed for Linda to play dual roles, both of which she did so with fierce tenacity and resolve. That initial take as the eager young woman more concerned about going out on dates and finishing school when she’s suddenly thrust into this terrifying circumstance. She plays the audience’s outlet of questions quite well, at first unwilling to believe what’s going on around her. Then in a wonderful flourish she becomes this weathered and beaten down soul that triumphs over the Terminator and begins her path of preparation for the events to come.

Of course there’s also Michael Biehn…a wonderful Cameron alum who would partnered up with the director again on “Aliens” and “The Abyss” who, through his involvement in Cameron’s films, would become a cult star in his own right.

But more than cult, Biehn has an incredible presence about him as an actor…his face is able to carry the reverence and weight of the nightmarish future Reese has known all his life and his physicality is more than a worthy match for Arnold ( to a degree). There’s a touch of sadness and lonliness to Reese that, in hindsight, I couldn’t see anyone pulling off nearly as well as Michael did.

“Come with me if you wanna live.”

What’s so interesting about the Reese character is that, out of the first three theatrical films, he is the only human to ever travel through time. Needless to say, his re-entry into the past is far different from the Terminators…and it’s that same reverence that makes you believe in his pain and the total anguish that the character feels both in the past and the future.

The supporting roles are filled quite nicely. The L.A.P.D. are wonderfully represented by now-cult phenom Lance Henriksen (another Cameron favorite who would go on to be in “Aliens&#8221 as Hal Vukovich and “Star Trek II” actor Paul Winfield as Lt. Ed Traxler. True it’s sort of an exaggeration (like when Traxler asks for a cigarette only to find one already in his fingers) but Henriksen and Winfield have a charming repartee with one another that is delightful through their entire run of the film.

Traxler: “How do I look?”
Vukovich: “Like s**t, boss.”
Traxler: “Yo’ momma.”

With the finances on a leash, “The Terminator” makes due in spades, going on to create one of the most visually arresting depictions of a dystopic, post apocalyptic future to date…not to mention the bombastic events taking place back in ’84.

The action scenes aren’t as grand as “T2,” but they’re certainly awesome.

There’s the culmination of Sarah, Reese and the Terminator at Tech-Noir…where all the stars of the plot come into alignment in that wonderful slow-motion moment that begins a ferocious gun battle and a kinetic car chase through the streets of Los Angeles (be on the lookout for a cameo from writer Will Wisher as the IL-19 cop…he would go on to co-write “Terminator II” with Jim).

And of course the final Tanker Chase that sees Kyle and Sarah desperately trying to escape on foot (!!!) as the Terminator drives after them in pursuit in a giant Gasoline Tanker…the explosion is terrifically handled by Fantasy II…But of course it’s far from over as the Terminator’s Endo-Skeleton emerges from the fire (the story of how Cameron came up with the Terminator came from a dream he had while bedridden and ill in Italy during the production of “Piranha II”…a vision of a monstrous robot figure emerging from flame).

But my favorite action sequence, without a doubt, is the Terminator’s brutal massacre at the West Highland Police Station. Armed with an automatic machine gun and a shotgun, the Terminator mows down a total of 17 officers, showing that perhaps no force on this earth could possibly hope to stop him. It’s a wonderfully edited scene and remains, to this day, one of my favorite ‘bad ass’ moments in contemporary cinema. The beginning of the scene also gave us one of the single most iconic quotes in contemporary American film.

“I’ll be back.”

AWESOME!

I’m also, thanks to my own love of the 80s, a huge fan of the film’s production design.

The Future War of 2029 is portrayed more in depth here than the other two films and it’s a completely immersive and haunting world that the remnants of humanity live in. The underground bunker where Reese and other refugees live is one of grime and decay, beautifully lit by cinematographer Adam Greenberg. It’s dirty, there’s trash everywhere and nothing to eat but slop and rats. It perfectly paints a depiction of total hopelessness (except for when Reese looks at the photo of Sarah…the one ray of hope in his life).

In present day, my favorite set HAS to be the Tech-Noir nightclub on Pico Blvd. With its blinking lights and horizontal finishes, the bar has a lot of personality to it…I love that set.

Of course, on a budget, the film resorts to practical locations…finding some gems in the process, such as the quaint Tiki Motel, the Guns & Ammo store and the Terminator’s bare-bones apartment.

And who doesn’t love the factory where the final conflict takes place? Steel girders, metal staircases and automated machines…It’s the perfect spot for a showdown with the Terminator.

The film’s visual effects, courtesy of Gene Warren and Fantasy II, are tremendous for their time. There depiction of the Future War through models and matte paintings is wonderfully tangible. Seeing the giant garages where they built the landscape of a destroyed LA is just marvelously inspiring.

The Terminator concept…the Endo-Skeleton…is beautifully rendered by the late Stan Winston. Based off of Jim’s own design where the cyborg could continue its rampage even after being split in half, the Terminator Endo has become a science fiction icon unto itself. The make up and prosthetic effects in order to create a partially destroyed face for Arnold are spectacular! Not to mention the incredible use of stop-motion animation to bring the Endo to life in another dynamic way.

The film is finalized with a wonderful synthetic symphony composed by Brad Fiedel. The Terminator theme is as iconic as the character it represents with a tinge of hope in its melody accompanying the pulsing drones of the machine beneath the man.

The film’s love theme, poetically performed by Fiedel on piano is also a favorite cue, played while Sarah and Kyle consummate their love for one another in the motel (for those of you who didn’t know…Kyle is John Connor’s father.)

Another favorite cue is the “Tanker Chase” that plays when Kyle and Sarah try to outrun the Terminator leading up to the film’s ending.

Aside from Fiedel, “The Terminator” also gets some great musical treatment in the form of its soundtrack. Provided by 80s band the Tryanglz, with vocals performed by the beautiful Tahnee Cain, tracks such as “Burnin’ in the Third Degree” and “Photoplay” scorch the Tech-Noir dance floor…Personally, I looked around the internet forever until I found those songs as mp3s (the soundtrack, regrettably, is out of print).

All in all, “The Terminator” laid the foundations for the work of who would become the filmmaker responsible for Hollywood’s highest grossing film…

Needless to say, I’ll take Arnold as a cyborg over that big boat anyday.

An action-packed trip down the 80s memory lane, “The Terminator” will always be a personal favorite.

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[Evil Twin]

Yeah, I'm a big fan of THE TERMINATOR as well.

It really is a model of internal logic. It sets up the rules and follows them to their ultimate conclusion. It adheres to a fate that really feels more like logic.

T2 as well acted as well. But, it's a lot of people being good separately. Biehn and Hamilton have a lot of chemistry which really makes the relationship at the center of the movie work.

It's also a model of efficiency. No one is asked to do more than they're capable of. Arnold only has about a dozen lines in the entire film. Every special effect matters. There's no fat.

 

[Iceman]

CFE..did you write all 100 reviews?

 

[TruerToTheCore]

Probably the best B movie ever made

 

[spider-neil]

good review but I still think T2 is better. T2 was the first movie I ever at the cinema where if I could I would have just bought tickets an gone staight back in to watch it again (I felt the same watching avatar).

 

[Infinity9999x]

Great reviews CFE

I'm kind of curious, what genre will you be hitting next? Action movies? or maybe Swashbucklers? I always enjoy reading your lists.

 

[Solidus]

And to Truer I am completely fine with that, to eaches own.

T1 is a classic film, and sci-fi, though I agree with neil I see T2 as a deeper film. But I know some like T1 better.

I just keep wondering where Blade Runner will lie on your list. It's always number one for me

 

[Evil Twin]

I tend to think that TERMINATOR is a stronger example of science fiction. The whole world of story for the franchise is created, succinctly, in the midst of a great action story. T2 benefits from that a lot in that it has less concerns with world building and gets to explore the world thematically more, a robot learns to care, Sarah Connor regains her humanity, free will vs. fate. The only new plot concept thrown in is the liquid metal terminator.

Like INVASION OF THE BODY SNATCHERS, the paranoia implicit in the infiltration aspects is used to good advantage. (Budget wise as well.) Arnold is stronger than he looks. The latter movies have lost that idea in favor of fancy special effects. The horror aspect of the man revealed to be a metal monster really hasn't been exploited well since the original. Granted it's a tough act to follow since that reveal only has maximum effect the first time.

John Connor, humanity's messiah, shares the same initials with Jesus Christ. And Jim Cameron (heh).

 

[MessiahDecoy123]

Both T1 and T2 are chase movies with a sci-fi background.

But they're perfectly executed chase movies.

 

[CFE]

CFE..did you write all 100 reviews?

When it comes to doing a countdown of 100, I take the time beforehand to research films and read other reviews, reviews from writers who've been doing this longer than I have.

Doing this is a massive undertaking, one that I can't enter into blindly.

Rest assured I have seen all of the films reviewed, otherwise I'd have no opinion on them...and while I'm inspired by the words of others to an extent (I'm a writer, but one that's still green...trying to learn the ropes of review while injecting my own approach to it) yes...to answer your question, I do write all of my own reviews myself.

Some of them, particularly the top 30 in this instance, I write by hand since I knew I had more to say on them and ideas for what I wanted to comment on pour out better for me on paper than on a screen.

That's usually how it works for films wher I have a lot to say...My review of "Avatar" was written by hand as well.

 

[Iceman]

When it comes to doing a countdown of 100, I take the time beforehand to research films and read other reviews, reviews from writers who've been doing this longer than I have.

Doing this is a massive undertaking, one that I can't enter into blindly.

Rest assured I have seen all of the films reviewed, otherwise I'd have no opinion on them...and while I'm inspired by the words of others to an extent (I'm a writer, but one that's still green...trying to learn the ropes of review while injecting my own approach to it) yes...to answer your question, I do write all of my own reviews myself.

Some of them, particularly the top 30 in this instance, I write by hand since I knew I had more to say on them and ideas for what I wanted to comment on pour out better for me on paper than on a screen.

That's usually how it works for films wher I have a lot to say...My review of "Avatar" was written by hand as well.

Thanks for explaining.

Congrats on the thread... it's a big achievement! Looks like a very interesting read so will go through it when I get time

 

[CFE]

#8

ALIENS (1986)

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Directed by ... James Cameron
Story by … David Giler, Walter Hill and James Cameron
Screenplay by … James Cameron
Based on characters created by … Dan O’Bannon and Ronald Shusett

Executive Produced by … David Giler, Walter Hill and Gordon Carroll
Produced by … Gale Anne Hurd
Cinematography by ... Adrian Biddle
Conceptual Design by … Syd Mead and Ron Cobb
Production Design by … Peter Lamont
Art Direction by … Terry Ackland-Snow, Ken Court, Bert Davey, Fred Hole and Michael Lamont
Alien Effects by … Stan Winston
Costume Design by … Emma Porteus
Editing by ... Ray Lovejoy
Original Motion Picture Score composed by ... James Horner

Sigourney Weaver ... Ellen Ripley
Carrie Henn ... Rebecca 'Newt' Jorden
Michael Biehn ... Cpl. Dwayne Hicks
Lance Henriksen ... Bishop
Paul Reiser ... Carter Burke
Bill Paxton ... Pvt. Hudson
William Hope ... Lt. Gorman
Jenette Goldstein ... Pvt. Vasquez
Al Matthews ... Sgt. Apone
Mark Rolston ... Pvt. Drake
Ricco Ross ... Pvt. Frost
Colette Hiller ... Cpl. Ferro
Daniel Kash ... Pvt. Spunkmeyer
Cynthia Dale Scott ... Cpl. Dietrich
Tip Tipping ... Pvt. Crowe
Trevor Steedman ... Pvt. Wierzbowski
Paul Maxwell ... Van Leuwen
Valerie Colgan ... ECA Representative
Alan Polonsky ... Insurance Man
Alibe Parsons ... Med Tech
Blain Fairman ... Doctor
Barbara Coles ... Cocooned Woman
Carl Toop ... Alien Warrior
John Lees ... Power Loader Operator
William Armstrong ... Lydecker​

The planetoid the Nostromo set down on has since been colonized…but when contact is lost, Ripley is called to join a team of colonial marines to investigate.

NOTE: This Review is based on the extended Special Edition of "Aliens."

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This time it’s war.​

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Let’s just get it out there right now…

Most of the time, sequels suck.

More often than not, they are produced solely to capitalize on the popularity of the first film, without any form or thought put into a proper continuation of the story or its characters (most likely because after the mystique of the first film there’s nowhere to go from there in the first place). The same concepts are recycled, the same gags manufactured and it’s clear that the studio is only vested in the property for the sake of a profit.

But on rare occasions, such as this…the studio executives (or at least the filmmakers brought in by the studio) have the right intentions and, even more rare, a path of advancement that is both logical in its progression and entertaining in its execution.

Like catching lightning in a bottle, the idea of producing a sequel that can stand equal to its predecessor seems daunting and impossible.

Thankfully, movies are meant to make the impossible a reality…and as far as sequels go, 1986’s “Aliens” ranks and remains among the very very best.

Time has passed since the horrific events that took place on board the Nostromo…after successfully defeating the Alien organism that killed her entire crew, warrant officer Ellen Ripley (Sigourney Weaver) has been traveling through space in Hyper Sleep.

Rescued by a deep-space salvage team and brought back to Gateway, the giant space station orbiting Earth, Ripley is introduced to Carter Burke (Paul Reiser), a company man in the employ of Weyland Yutani…the conglomerate responsible for endangering the lives of the Nostromo in order to get their hands on the Alien for the Bio-Weapons Division…who informs her that she had been drifting through space for 57 years.

The life she knew was long gone…and her 11 year old daughter Amy had died at the age of 62…two years ago.

Furthermore, Ripley learns at her inquiry that LV-426, the planetoid where the Nostromo touched down upon, has been outfitted with Atmosphere Processors and is currently being colonized by a group of 70 families from Earth. Knowing full well that the derelict spacecraft carrying the endless supply of Alien Eggs is still on the planet, she pleads for help…ending up put on suspension and psychiatric probation for her babble.

When communication with the ‘Hadley’s Hope’ colony is lost, Burke asks Ripley to venture back to the center of her nightmares for the possibility that there’s validity to her story…reluctant, Ripley agrees on the condition that the mission is to destroy and not capture.

Joined by a team of hard ass Colonial Marines (Michael Biehn, Bill Paxton, Janette Goldstein, William Hope, Al Matthews, Lance Henriksen, Mark Rolston and Ricco Ross among others), Ripley journeys to LV-426…determined not only to survive, but to wipe out the beasts that have plagued her dreams for so very long.

Initially taken on as a writing assignment by Jim Cameron, the success of “The Terminator” landed him the director’s spot…and he more than rises to the occasion, making “Aliens” one of the best actioners of recent years I’ve ever seen.

The stars are just in total alignment for the film…to put it simply, “Aliens” just kicks ASS!

Nowadays, the general movie goer…when asked to comment on great action films…might easily spout the likes of “300” or the “Bourne” series…

But for me, “Aliens” remains a pinnacle of how action can be best handled…it’s a rip roaring roller coaster ride of tension, terror and adrenaline that never ceases to let up for an instant. Along with “Terminator II” and “True Lies,” “Aliens” definitely shows that, when it comes to action, Cameron is in a league all his own.

Now I’m sure the idea of writing and producing a sequel to one of the most popular science fiction films of all time seemed like an intimidating challenge…very much because it is…and, given that it’s James Cameron, you know that he has a vision of his own to uphold.

Luckily (and quite well I might add), Cameron brings an approach to the film that maintains the themes, tones and aesthetics of Ridley Scott while simultaneously making the film something entirely his own. By bringing it nearly 6 decades into the future, Jim is essentially given the opportunity to have an entirely clean slate…of course most of the design concepts still stick, but Cameron’s depiction of the “Alien” universe is technologically harsher…while the interior of the Nostromo seems much more curved and finished, the designs of “Aliens” are more angular and stark.

At its heart, “Aliens” plays very much like an allegory for Vietnam…the idea that a team of soldiers who on the surface appear technically advanced come barging in to foreign territory, completely underestimating both the enemy and the circumstances they’re in…and pay for their foolhardiness in blood, absolutely decimated by an opponent who’s superior to them in every way.

There was still a very reverent and relevant feeling towards Vietnam throughout the country at the time and I think its genius that Cameron chose this path.

The cast of “Aliens” is incredible…perhaps the best ensemble ever put together.

Sigourney gives, in my opinion, her best performance as Ripley here. Coupled with Cameron’s penchant for strong female characters, she’s very cleverly written by Jim and Weaver’s approach as a weathered yet tempered woman able to keep a cool head in even the direst of situations feels like a natural progression from the first film and works very much to her advantage.

This depiction of Ripley is courageous, strong…yet you can still feel an aura of fear along her spine. It’s quite empowering that the character willingly chooses to face her fear and it’s an attitude we should all look up to.

Given her performance in the film it’s no wonder that Sigourney deserved the Oscar nomination…the fact that she got one, in spite of the performance being at the helm of a sci-fi/fantasy/horror picture, clearly speaks volumes about her skill as an actress.

Following behind Ripley are the Colonial Marines…who very much represent the heart, soul and backbone of the film, given that it was marketed as a combat movie.

Standouts among the ranks, for me personally, include Bill Paxton, Al Matthews, Janette Goldstein, Lance Henriksen and…of course…Michael Biehn…

Paxton’s lovable yet slightly *****e-bag buffoon approach makes Hudson a wonderful character to watch…his sense of humor, even in light of what’s happening, helps to relieve tension and lighten the mod whenever possible. I always felt Hudson represented the spirit of the Marines, their sense of hope. He’s also easily one of the most quotable characters I can think of in terms of Science Fiction.

“Hey Ripley, don’t worry…me and my squad of ultimate bad asses will protect you!”

“That’s it…game over, man…GAME OVER!”

“We’re on an express elevator to hell..goin’ DOWN!”

“Hey…Stop your grinnin’ and drop your linen…”

Then there’s Al Matthews, who brings his former real-life military career to the character of Apone with gusto. My 2nd favorite depiction of a grizzled Army Vet (behind Lee Ermey in “Full Metal Jacket”), Apone best represents the mood and moral of the Marines…essentially the entire picture…while he’s on screen.

“Alright sweethearts you heard the man and you know the drill; ASSH*LES and ELBOWS!”

And who can forget his best line!?

“Naghhhhhhhhhhhh, Absolutely BAD ASS, let’s pack ‘em IN!”

I just get this big dopey smile on my fave with that line…pure 80s action bliss!

For Michael Biehn, Hicks is admittedly not as developed or engaging a character as Kyle Reese, but Biehn’s physicality in the role makes him a wonderful addition to the team. I DO love that character moment when he and Ripley tell each other their first names. Janette Goldstein’s turn as Pvt. Vasquez is also one of the film’s best. I just love that the biggest and brassiest personality on the team is a woman (just like Jim’s approach to Ripley and Sarah Connor). The sight of her wielding her giant arm-crane mounted weapon is one of the movie’s most iconic images.

“Let’s ROCK!”

We also have the addition of Lance Henriksen, who’s take on the synthetic android Bishop is a great one. From the classic ‘knife’ gag to his constant attempts to prove to Ripley that he’s a valuable and trustworthy ally, Henriksen brings a sense of awkwardness and sympathy to Bishop that makes the character one of the film’s best. Being an android as opposed to a human, that’s saying something.

But one of the film’s strongest performances rests not in the faded fatigues of the Marines…but in the hollow and cold eyes of a haunted little girl.

Carrie Henn is wonderful in her portrayal of Newt. She carries in her performance initially a sense of hopelessness and anguish…when she delivers deadpan dialog about how the Marines will die just as easily as the colonists you can feel it in your bones that this little girl perfectly captures the uncompromising world of the “Alien” universe…its in her eyes, her airy voice…

“We better get back because it’ll be dark soon and they mostly come out at night…mostly…”

Her chemistry with Sigourney is also very natural and it’s made abundantly clear that these two characters need each other…and the hope they each represent…to survive.

Visually, “Aliens” is incredibly inspired…pushing the visions established by the work of Ridley Scott, H.R. Giger and others to a progression that feels both logical and alive.

Under the cinematography of Adrian Biddle (who replaced the initial DP early in the production after the first one quit for personal objections to Jim’s work ethic), “Aliens” has heaps of atmosphere and mood to it. The shots lit solely by the Marines’ miners’ lights are extremely atmospheric and creepy and the wonderfully shocking moments where the supposed background is revealed to actually be a Xenomorph crawling on the wall are amazing! Biddle brings a sense of character to the cinematography that’s dark, industrial…tense and scary (though I don’t think as scary as the first film).

Envisioned by visual futurist Syd Mead and designer Ron Cobb (the ladder worked on the original film as well) the heavy equipment and ships of the film are beautifully conceived.

The Sulaco, a giant armed cargo carrier, is beautifully industrialized and looks great…the interiors of the ship designed by Peter Lamont all filled with railings and yellow/black construction hazard strips look incredible. The drop ship and APC used to land on LV-426 are very much inspired by the vehicles of Vietnam in their designs with the former looking like American Huey Attack Copters and Gunships while the ladder is very reminiscent of heavy-duty infiltration tanks. The entire approach to the design of the Marines’ hardware is just completely visceral and lovely in a morbid, urban sort of way.

One of the bits of equipment however was of Jim’s own design…needless to say it became the film’s most iconic.

The Power-Loader, a giant yellow painted device meant to haul and load warheads into the Dropship is a beautiful technical design…at first it looks great just for the sake of carrying out its primary function.

But to have it then be used as a weapon in the famous battle between Ripley and the Alien Queen is just brilliance.

“Get away from her you B*TCH.”

Lamont, Mead and Cobb also bring there talents to the ‘Hadley’s Hope’ colony and the Atmosphere Processors on LV-426. The visual effects and model work of the Skotak brothers and the L.A. Effects Group is just so incredibly awesome in bringing these giant mechanical locales to life. There’s such an attention to detail (you can even see a neon sign for a ‘BAR’ in some of the effects shots) that you have to look at the film more than once just to get it all. I’ve always been a huge fan of tangible effects…giant models, make up and prosthetics…and “Aliens” is one of the best ever.

As far as the action again, it’s well executed. The firefight beneath the Atmosphere Processor that sees the bulk of the Marines’ ranks get decimated is sharp, tightly composed and relentless as they just get pummeled by the Xenomorphs.

There’s also the extremely terrifying sequence with the Facehuggers in Med. Lab attacking Newt and Ripley…seeing the Facehuggers actually walk along the floor on those fingers is just so creepy and the water from the sprinklers makes it moody and textured.

But obviously the best action sequence is…well…damn near the entire third Act of the film. The Aliens are absolutely brutal and their chasing of our heroes through the air ducts is creepy and suspenseful. The ending where Ripley, armed with a Pulse Rifle, grenades and a flame thrower is so well done…it’s tense, nerve grinding…you’re just aching for the film to resolve itself yet you constantly hold your breath at every turn through Sub-Level 3…every staircase, every girder, every puff of steam as the computer reminds us of the dwindling time to reach minimum safe distance.

To see Ripley finally bring it to the Aliens is a wonderful treat for fan’s of the original film…made even more intriguing by the fact that Sigourney is strongly anti-gun in her real life.

But of course, no one was prepared for the mother of all beasts…literally…in the form of the Queen.

Designed by Jim himself, rather than bring back Giger, the Queen is one of the best examples of animatronics effects work I have ever seen…right up there with the work that brought the dinosaurs of “Jurassic Park” to life. Jim’s design, with the armor-plated head, is also a great approach that still keeps in line with H.R.’s design aesthetic.

The film’s score, composed by James Horner (“Star Trek II: The Wrath of Khan,” “Cocoon”) is great in advancing the design and atmosphere of the film but, unfortunately, just falls short…due more in part to its minimal use in the film than anything.

However, I can still comment on the cues as they were depicted on the Special Edition Score release…

One of my favorite cues is “Combat Drop,” meant to signal the arrival of the Marines to the planet as they gear up for the mission at hand…it’s rousing and quite uplifting.

There’s also “Ripley’s Rescue” which plays while Ripley attempts to retrieve the remnants of the troops after their initial defeat by the Aliens. With it’s kinetic overbearing brass and percussive tones, it’s a wonderful track that soars.

But easily the most iconic track in the film is “Bishop’s Countdown;” now the quintessential action movie cue that has been used in trailer after trailer after trailer…and for good reason, it’s one of the most striking and powerful bits of film music from the past 33 years. Hard to believe Horner only wrote it in a few hours time!!!

“Not bad…for a human…”

When all is said and done yes…Sequels, at large, do suck.

But sometimes, sequels can kick a fairly large amount of ass.

And “Aliens,” even all these years later, still manages to kick mine everytime I see it. A wonderful indication of where the filmmaker known as James Cameron would eventually go, it’s a great benchmark in the career of a great filmmaker…and it will continue to stand the test of time, I feel, for years and years to come.

----------------------------------------------

 

[Evil Twin]

The smartest thing Cameron did with ALIENS was not try to repeat what Scott did in ALIEN. At least tonally. Plotwise there are some similarities in the broad strokes, Ripley and a few others end up trapped with an alien threat, their plans go awry, they get picked off, big countdown to explosion with Ripley having to confront the alien menace prior to escaping, Ripley escapes, finds an alien stowaway, and blows it out of the airlock, but Cameron is smart enough to give his own spin to the proceedings to keep the familiar stuff fresh. This is an action film not a horror film.

The character of the space marines is a big part of that success. I think it's fair to say that they're less well rounded than their counterparts from ALIEN. They fit types, the macho blowhard that's really a coward, the slimy corporate weasel, the hot headed latin, the gruff sargeant, the quiet, competent corporal, the green lieutenant, but even so, they're memorable within those types. Cameron really gets good work out of his actors to bring these types to life and for us to accept them as individuals. As best I can tell, this is the first look at the futurisitic, military grunt in science fiction, albeit you can spot other military types in FORBIDDEN PLANET and STAR TREK, and it's a memorable version. Robert Heinlein is probably the father of the genre and Cameron is probably the father of the cinematic version.

When discussing the extended edition vs. the theatrical cut I don't find one particularly better than the other, but I slightly prefer the theatrical version. Yeah, you lose the cool sentry guns in the theatrical version, although I find that loss makes their odds look even more hopeless, but finding out that Ripley lost a daughter in the interim is a little too "on the nose" for me and I find the look at the colony pre-infection a waste of time and undercuts the mystery of their initial investigation somewhat.

I really like the facehuggers scuttling around the lab. I think that's Cameron's best new addition in terms of horror and tension.

The Alien Queen is a great design. From a purist p.o.v. I disagree with Cameron a bit in that I think he reduces the alien creatures from something truly unique in Scott's original to giant space bugs. I can understand insects. But, they're certainly memorable space bugs in Cameron's version.

I saw this and ALIEN back to back in 1986 on the bigscreen at my university. It still remains one of the most fun and memorable nights at the movies I ever had. Great movies both.

 

[Obi-Ron]

To this day some of my friends refer to Lance Hendriksen as "Macaroni Man" due to his death scene in this movie. (His robo guts looked like macaroni salad!)

 

[Solidus]

One of the all time greats for sure. I remember seeing it years later at the drive in theater. They had it an Alien back to back. Me and my friend got to go with some of his older brothers friends. I will never forget it, it had been out for a few years by then. But still one of my all time favs, and I want the damn quadriology on Blu-ray. Aliens out of all of them needs a remaster, Cameron has not done one since the laser disk release for it.

 

[spider-neil]

aliens should definately be higher than 8 (imho).
what the heck is better than aliens? for me the only science fiction movies I have enjoyed more than aliens is blade runner and empire strikes back. I'm really curious as to the 7 sci movies that finished higher.

 

[Evil Twin]

aliens should definately be higher than 8 (imho).
what the heck is better than aliens? for me the only science fiction movies I have enjoyed more than aliens is blade runner and empire strikes back. I'm really curious as to the 7 sci movies that finished higher.

Six of them should be flat out obvious from CFE's graphic in his first post.

And, really, it's CFE's list. Of course CFE's tastes are going to be slightly different in ordering than everyone elses. Considering how much thought and effort he's put into this, I'm not going to ding him for the order at all.

Notable omissions OTOH....

 

[Solidus]

aliens should definately be higher than 8 (imho).
what the heck is better than aliens? for me the only science fiction movies I have enjoyed more than aliens is blade runner and empire strikes back. I'm really curious as to the 7 sci movies that finished higher.

Even though Aliens is one of my all time favs, I would say by just a micro micro hair I like Alien a smidge of a smidge better. So that I know will proably be above it. Blade Runner, Empire Strikes Back will be up there too. 2001 I figure as well will be up there.

 

[Evil Twin]

FWIW, even though they're very different tonally, I think ALIEN and ALIENS make a better double feature than TERMINATOR and T2. The former two are both A-pictures while the latter have an obvious level of difference in production values. It's a superficial difference, but it still stands out for me.

 

[spider-neil]

Even though Aliens is one of my all time favs, I would say by just a micro micro hair I like Alien a smidge of a smidge better. So that I know will proably be above it. Blade Runner, Empire Strikes Back will be up there too. 2001 I figure as well will be up there.

I despise 2001. pretentious rubbish (imho) reminded me of 'the fountain' another pretentious movie I hated.

 

[Doctor Jones]

Wait, Kubrick's 2001 pretentious?!

And Aliens is one of my favorites now probably. Just so much rewatchability.

 

[-Arya-]

I despise 2001. pretentious rubbish (imho) .

Oh give me a break.