Be aware that while we have put up spoiler tags for the worst of it, it's a fairly in depth review so expect some mild spoilage of the film and of the first Alien throughout. We do not discuss Prometheus, so no worries there.
Loren Greenblatt: Quick synopsis: at the end of the first Alien, Ripley (Sigorney Weaver) (Spoilers for
Alien 1)is the only survivor (well, her and the cat) on her
ship (End of Spoilers). She goes into crytostasis and is woken up 57 years later. It’s a
completely different world, everything’s more advanced, and her daughter has
died. We find out the Weyland-Yutani company has colonized the planet the
aliens were found on, and now the colonists are missing, so Ripley and a bunch
of marines go to figure out what happened. Answer: nothing good.
Max O’Connell: This is my favorite James Cameron film. It’s the one I’ve seen the
most. I ‘ve been known to watch it multiple times a week. I also think this is
his best script.
LG: Yes, I
agree. I haven’t seen it as many times as you have, but all the people who
complain about Cameron’s dialogue and structure really need to look at Aliens. It’s not a short film- we saw
the 2 ½ hour long Special Edition. It’s not unheard of for a summer blockbuster
to be that long, but circa 1986 it’s pretty long.
MO: Well
at that point it was the theatrical edition, 137 minutes, but that’s still
fairly long.
LG: Well
my theory on this stuff is, the longer a film is, the denser it needs to be to
justify that length. Boogie Nights is
about 155 minutes and there’s never less than 8 things happening at once in
each scene. Also, along with being long, you have to deal with the expectations of
it being a sequel to Alien, but try
to make it different enough to justify its existence. Right away, we see
Cameron’s own variation of the credits from Alien.
And frequently through the film, even though it’s a very different film
than Alien, you see Cameron’s version
of a lot of things from Ridley Scott’s film. One of the things I really love is
the way Cameron establishes mystery. Getting the audience to go with hard
sci-fi can be difficult. Plus it’s a sequel, so right away you think it might
be a retread. But Cameron establishes an opened up version of the world and
establishes a mystery. We open with Ripley in the escape pod from the first
film. She’s been sleeping for we don’t know how long, and a robot comes in, and
we don’t know what the hell is going on at first. Setting up a mystery around a character we care about. It’s a good way to set up a new sci-fi universe.
MO: Also
it does a good job of picking up where the last one left off. The first film
has heavy use of untrustworthy authority, (Spoilers for
Alien 1) what with the company giving
an android permission to kill his crew in order to preserve the alien (End of Spoilers), and the fact that it’s a bit of a
corporate-owned world. Aliens really
takes that idea and runs with it. It fleshes out the Weyland-Yutani company,
which is a major part of the Alien mythology.
Loren noted that a kid’s Big Wheel has a Weyland-Yutani logo on it.
LG: I
thought the corporate owned Big Wheel was a bit much though.
MO: They’re
like Disney or Fox. They own everything. It’s a film that explores a lot of
ideas that might have had people guessing from the first film (though there’s
plenty of stuff Ridley Scott himself had left over to look at in Prometheus). We knew where the aliens
came from- the facehuggers. The facehuggers come from eggs. So where do the
eggs come from? Well we find that out here. Then there’s the fact that
this film has not only his best structure, but his best dialogue. It’s fairly
natural for a Cameron film, and it has a number of his best one-liners.
Everyone remembers the great “get away from her, you bitch!” line, and Hudson’s
“Game over, man, game over!”. But there’s plenty of other great stuff
throughout. “What do you mean we can’t use guns? What are we supposed to use,
harsh language?” Or “Guess she don’t like the cornbread neither”. Both of those
spoken by Frost, one of my favorite five-line characters ever. Bill Paxton gets
plenty of great comic relief lines (I love his “we’ve got knives, we’ve got
sharp sticks” speech in the Special Edition).
LG: This
is also a very strong film in terms of character motivation. We find out very early that Ripley’s daughter
has died, and now no one believes her about what happened in the first film,
and she’s been blamed for millions of dollars of equipment and several deaths.
It pulls her apart before the main action even begins. So there is a lot of stuff going on inside her throughout the film. Which is good cause she's gonna get put through her paces in this one.
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| It's gonna be another bad day for Ripley |
MO: You
noted in The Terminator that there’s
a Vietnam parallel with the guerrilla warfare and Cambodian genocide imagery.
The parallel here is a lot closer. The marines are all gung-ho, there’s a lot
of great macho dialogue, their spaceship is shaped like a big, penetrative gun,
the sergeant wakes up with a cigar in his mouth. It’s all great. They imagine
they’ll get it done and kill everything, they have no empathy for the
colonists, and they have no understanding of their foe. Oh, and there’s a
commander with zero experience.
LG:
Ripley’s kind of brushed off by them, they don’t care about what the alien is
like. They might have wanted to stick around when she noted that it has acid
for blood. One of the few quibbles I have is that relatively few people get
sprayed by the acid blood until near the end.
MO: Well,
it happens quite a bit in the first fight…
LG: It’s
late in the film where it really happens first. It’s a minor thing, but it
bugged me the first time around.
MO: No, a
few marines get sprayed in the beginning, like Drake, whose face melts off, and
Hudson gets it on his armor. It happens more often later on, but I saw more
than you did.
LG:
Complaint retracted. One of the things I really love about the movie is the
segmentation. After we get to the colony, the film could have easily become a
one note shoot-em-up, instead Cameron gives us five or six mini-segments all
with unique flavors and mini goals. And in each segment things get
progressively worse for the characters.
MO:
Cameron is noted for his differences from Ridley Scott, but he takes a lot from
him as well. When we first get there, we get the Ridley Scott-style deliberate
pacing that slowly builds dread before we finally see the aliens. It’s empty,
they don’t know what happened, there’s no people around, no aliens around.
There’s some sign of struggle, but there’s no sign of where anyone is. He milks
the terror really well right up to when we meet the one survivor, Newt, the
little girl hiding in the walls.
LG: Newt’s
a very important character. It’s one of the two Cameron films with a
mother-child dynamic. Ripley is a strong mother figure trying to protect a
feral child who’s, to some degree, already independent by necessity. She’s
survived, but she still needs, and is ultimately receptive to, a mother figure,
much like the punk-kid from Terminator 2.
It’s a great way to build up these strong female characters.
MO: Well
Cameron is known for his strong female characters, and you don’t get much
stronger than Ripley. We kind of like Sigourney Weaver in this movie, just a
little bit.
LG: She’s
very strong. It’s a pity that films like this don’t get Acting nominations…
MO: She
got a Best Actress nomination, actually, but it’s one of the only major action
roles to get an acting nomination. I’d argue she should have been nominated for
Alien as well, but whatever. I’m not
sure that she was really seen as a favorite- she was up against Kathleen Turner
for Peggy Sue Got Married, and she
ended up losing to Marlee Matlin for Children
of a Lesser God, but it’s still a landmark occasion. This is a character
who’s highly influential over future female action heroes, like the Bride from Kill Bill. It’s a great character- she’s
still shaken up from the events of the first film. She’s still a bit
standoffish (Ridley Scott played with expectations where she was built up as
the “bitch” character who’d get killed). But Scott and Cameron sympathize with
the fact that she’s a survivor, and she becomes more likable here when she gets
a human connection.
LG: It’s a
shame that we still don’t get a lot of good, female action stars.
MO: Or
that a lot of major female heroes are over-sexualized to the point where it’s
leery and borderline misogynistic.
LG: Back
to the film. When they first get to the colony we see one of the biggest
carry-over from Alien, aside from the
world and Ripley. It’s a bit like the ship-approach from the first one. There’s
even the same helmet-cams from the first film, though Cameron uses them in a
very different way. You’re almost getting snippets of a found-footage
pseudo-documentary movie. It really adds to the realism and tactility of the
world. In the theatrical cut, this is the first time we see the colony. We’re
just being thrown into this, and we have to get our bearings. We watched the
Special Edition, though, and there’s one gripe we have with this version.
MO: We see
life on LV-426 before the aliens attack. We see the terraformers doing their
thing and Newt’s family. We see a great moment that later turned up in Terminator 2 (“whenever I look for an
answer, they tell me ‘don’t ask’”), and that’s not bad. Newt’s family discovers
the derelict spaceship from the first one, and the facehugger attacks her
father. It’s not bad, but it’s better when we don’t know what’s going to happen
when we’re going in.
LG: Also,
the film has some incredible special effects, but it doesn’t work as well in
these scenes. The set looks very good in dim lighting, but in bright light,
they looks kind of fake. Also: making Newt’s family responsible for the alien
attack is a bit much. It’s better if she’s just a random colonist. And
ultimately it’s better if we’re just with Ripley in the beginning, as we are
the theatrical cut. It makes it more claustrophobic and mysterious. The cutting
back and forth of the Special Edition is less effective. That said, that’s the
only thing we don’t like about the S.E., everything else is worthwhile and
makes the film much stronger.
MO: It
absolutely is. And that scene: it’s not torture. If there’s a fan cut that has
every scene from the Special Edition other that that bit, I’d love to see it.
I’m sure there is, as we’re not the only people who complain about that scene.
LG: And
the scene doesn’t undercut the film or anything, it’s just better without it.
Some of the other additions: there’s a bit more with the Marines, there’s more
establishing shots on the ship. The marines are interesting: a few of them are
actual characters, but some of them are just monster-food. But even the ones
who are just monster-food, we get a
sense of who they are. These are people who know each other, and we get a sense
of how they work as a team. It’s not a case where they’re thin. We just don’t
know them well. And that’s a huge distinction. Hell, a lot of the later films
in the Alien series have that
problem, like Alien 3…
MO: Can
you name anyone in Alien 3 other than
Ripley and…Charles S. Dutton’s character whose name I can’t remember?
LG: Or in Alien Resurrection where they’re just a
bunch of stiffs there to be monster-food, and we don’t care. Here, they’re real
people we don’t know well. Like Terminator,
even though this isn’t a world Cameron created, he updated it enough to claim
a lot of credit for the mythos, and he has thought out all the angles.
MO: His
films are all really well worked out. There are characters in this thing who
are only around for a little bit, like Frost or Sgt. Apone or Drake, who I
remember better than main characters in a number of other action movies.
There’s a lot of specificity here, which Cameron brings.
LG: I think
it’s even more important than his visual style or his editing. His specificity
in his writing is extremely important and really sets him apart from a lot of
writer-directors who say “eh, good enough.”
MO: That
said, that style is tremendous. Something I love that carries over from the Terminator is that tactile sense of not
just the violence, but all of the grit and sweat and particles. When we find
Ripley, her hypersleep chamber has been closed so long that it’s covered in
frost. The sets all look terrific. The pornography in the marines’ lockers is a
great detail that you might not notice, but it’s important that it’s there.
LG: And
it’s not all tacky Hustler stuff, there’s
also some classy black-and-white photos mixed in. You get a sense that there
are different tastes within the barracks.
MO: We
also get a good sense of how the machines work. There’s a tank that resembles
the Tumbler in the Nolan Batman movies
so much that I’d be surprised if it wasn’t an influence. We get a good sense of
how it works. We get a sense of how the weapons work…in fact there’s a scene
where Michael Biehn’s character shows Ripley how the future rifles work. He
tells her to “feel the weight”, and we really do. You noted that Cameron is
great with showing how bullets are limited, and nowhere is that more important
than in the sentry-gun scene.
LG: Oh,
it’s a great sequence in the Special Edition. The guns are just outside the
perimeter. We don’t see them fire, but we hear them, and we see the counter showing
how many bullets are left, and tiny as it seems, it’s great. It’s a rare case
where telling us what’s happening is more effective than showing it. It’s very
Hitchcockian.
MO: And
like Ridley Scott and Stanley Kubrick before him, he’s very good at contrasting
bright lights with dark shadows, sterile interiors to gooey stuff.
LG: It’s a
very gooey, icky film, and that’s one of the great things about it. One of the
great things about Ridley Scott’s film was the facehugger. The biology of the
alien is so bizarre that it had to be iconic. It comes from an egg, then
there’s this thing that lays eggs in your throat, and then the egg grows and
bursts out of your chest. The facehugger is one of the scariest things in the
first film. They wrap around your face and shove stuff down your throat…
MO:
There’s a lot of rape subtext…
LG: A lot.
And the thing’s legs have fingernails, which is creepy…and James Cameron
managed to make it even more terrifying somehow. My favorite scene in the film
is also the most claustrophobic and Hitchcockian-Ripley and Newt are trapped in
a room with two facehuggers and we see the things walk, and it’s terrifying. I
don’t get creeped out easily, but this is just…yech.
MO:
Something the first film has that you almost can’t fault it for because of the
budget being so low, is the fact that the alien was very much a man in a suit.
This film gives a better sense of how bug-like these things are. There’s a part
where one falls under the tank, and you hear this big crunch that you’d hear if
you smashed a beetle.
LG:
Cameron’s interpretation was that they were more bug-like. He asks who laid all
the eggs, and he adds an alien queen. It’s a very interesting contrast when
there’s a mother lioness of Ripley fighting another mother lioness at the end.
MO: And
the queen thing is compared to bees and ants, which is just great. It’s almost
like they’re an infestation.
LG: But
they’re also very intelligent: they lay an ambush and cut the power.
MO: But
Cameron also builds his first mech suit since Xenogenesis.
LG: And
like that film, a person’s movements control the machine. But it’s less goofy
here: they’re robot forklifts that practically look real. I almost don’t even
want to know how they did it, it’s so convincing.
MO: It
looks real. It looks like Cameron built these things, which, it’s obviously a
special effect, but we don’t get that. Also: we’ve had an idea before that the
aliens were bio-mechanized weapons before, but it’s clearer here.
LG:
There’s a lot of nuclear power stuff too- there’s a “let’s nuke ‘em” solution
for the aliens, there’s the fusion reactor that’s melting down. The nuclear
stuff from Xenogenesis and Terminator is still on his mind, and
won’t be leaving it any time soon.
MO: But
it’s a good time to talk about the corporate overlords. Burke, played by Paul
Reiser, is a company man who befriends Ripley.
LG: He’s
very trusting at first and he’s in her corner…at first. (Spoilers) He’s trying to cover up company mistakes, he’s concerned
with the dollar amount of the colony over human lives, and he almost kills
Ripley and Newt by trapping the facehuggers in with them to impregnate them.
MO: He is
responsible for the colonists’ death, and he goes to disgusting lengths to get
the aliens back. Which is a continuation of the first film. But the film also
plays with expectations, since there’s another android, and the last one was a
bad guy sent to watch over things for the company and kill the crew if
necessary. (End Spoilers)
They play with that a lot with Lance
Henrikson’s character, Bishop. Henrikson’s very good here…
LG: And he
has a great introduction doing the five-finger-filet game so fast that he can’t
be human. He doesn’t identify with people or society, preferring to be called
an “artificial person.” Similarly Ripley has been exiled from society. Again,
like the Cassandra myth, she knows what’s up and no one believes her. Her
mistrust of him, while understandable, may also amount to misplaced self
loathing not to mention space-racism. Their alienation makes them natural
allies, but she’s so mistrusting that she can’t recognize it until late in the
film. It’s a great exploration of her flaws as a character. Cameron is willing
to give her real issues, which is more than you can see in a lot of action
films.
MO: The Terminator was a very technophobic
film, this is a little less so. It’s a little like Blade Runner- they’re more human than we think they are. That she
can build a human connection with Bishop is great. Cameron is interested in
what makes us human, and part of it is empathy, which Bishop, Ripley, Newt, and
the marine Hicks have where others don’t, and that’s part of their undoing.
They empathize with the colonists.
LG: And
Bishop learns empathy for Ripley a little bit. This is a theme that culminates
in Terminator 2, which we’ll get into
there.
MO:
There’s a number of great characters here. Michael Biehn is really strong as
Hicks, this marine who’s so dreamy and dazed in his delivery and presence that
he almost seems out of place. He wasn’t originally cast- another tough-guy
character actor, James Remar of Drugstore
Cowboy and The Warriors, was- but
he’s well cast here. He’s more empathetic and he’s a love interest that’s not
overplayed. They never get a big sex scene or kiss or declaration of love, but
their bond over the course of the film is wonderful.
LG: I
never saw it as a love interest. I saw her as somewhat asexual, which is
interesting considering all the psycho-sexual imagery in the films.
MO: Wow, I
never got that. The human connection between the two was always an attraction
to me.
LG: But it
was never going to be consummated.
MO: Oh, I don’t know about
that. She’s sexualized and feminized so much that I can’t see her as asexual.
The way Cameron plays with her femininity is so interesting that I can’t read
it the other way.
LG: Though
a number of the female characters are asexualized.
MO: Well
Vasquez (terrific performance by Jeannette Goldstein) is the toughest of all
marines, but she’s had to do it by being another one of the guys. She’s
actually more macho than any of the men other than Hudson, who’s a coward (Bill
Paxton is hilarious in this).
LG: We
should note that this is not an all-male fighting force. There aren’t just one
or two women: there’s a good handful. It’s not all white either. It’s very
diverse in terms of race and gender.
MO: Well
you can see the influence on Paul Verhoeven’s Starship Troopers, which has that as well, or the influence that Starship Troopers the book might have
had on this.
LG: Well
I’ve always argued that Aliens is the
best movie adaptation of Starship
Troopers available, not that I don’t like Starship Troopers.
MO: I love
Starship Troopers.
LG: It’s a
good film, but this is better. I’m surprised the author didn’t sue. There’s so
many similarities of marines going after bugs and it being a sham…
MO: Well
Highland is a more militaristic guy (ok, fascistic) where Cameron is more
critical.
LG: I
wouldn’t say critical…
MO: Well,
their attitude gets them killed…
LG: But
they’ve had successful missions, even if their attitude here is all wrong.
They’re not bad guys.
MO: Oh no,
they’re not bad guys, but they’re flawed human beings who make grave errors in
judgment.
LG: But
it’s not like other war films like, say, Platoon
or Casualties of War, where there
are rapists and murderers mixed in with the crew.
MO: I
understand what you mean. None of them are nasty characters, and it’s not like
they’re saying a military shouldn’t exist, but it’s still somewhat critical.
I’d like to get into some other influences on this: obviously there’s a bit of
Ridley Scott’s Blade Runner in there
along with Alien, and the opening has
the same classical piece as in Kubrick’s 2001.
In fact the intro is a bit of a space-ballet in its own right. Cameron has
that same sense of meticulous design as Kubrick and Scott, but he borrows his
rhythms from Spielberg and Lucas.
LG: The
thing about Lucas is that his influence from samurai films was to drop you into
a complicated world, which Cameron does too. There’s a lot of segments and
mini-goals in Aliens like there is in
Star Wars, and there’s the lived-in
future. Now here’s an interesting thing: when I was a kid, I somehow got it
into my head that Cameron wrote the first Alien.
He had nothing to do with it, but look at it and you can see why he signed
onto the sequel. The first one has a lot of similarities to Cameron’s work: there’s
blue-collar space workers, blue light and blue mist (though that’s a Ridley
Scott thing too), a strong female character, a script that’s very into the
rules of its world. Alien is just
chuck full of things that Cameron likes to put into his films. After Terminator, he could have done something
original, but he chose to do a sequel to someone else’s film, and I think that
says a lot of how the first film resonated with him.
MO: And
here he brings his sense of kineticism and that blockbuster model, not to make
it sound generic. Raiders of the Lost Ark
five years earlier had kind of finalized what a blockbuster film was, and Aliens follows that very closely to an
effective degree. And, like any action movie from Carpenter to Spielberg,
there’s that Howard Hawks “man on a mission” feel.
LG: Also
the feral kid is lifted from The Road
Warrior. The two kids even look alike.
MO: We
didn’t get into this earlier, but Carrie Henn is terrific here. She’s got kind
of a weird accent, where she’s an American who was raised in Britain, so she’s
a kid whose pronunciations go back and forth, but it’s not much of a
distraction. Cameron gets a good performance out of her. He’s got a real talent
working with young actors, which shows up in Terminator 2. Now, the James Horner score you might be able to
speak about better because you’re a bigger Star
Trek fan.
LG: There
are bits from Horner’s scores from Star
Trek II and III that show up here.
That has a bit to do with how pieced together the score was- Horner didn’t have
long to write it because Cameron took so long putting a final cut together- but
Horner has a reputation for reusing bits of his previous scores.
MO: Yeah,
and he was so upset he said he would never work with Cameron again (although he
has twice, with Titanic and Avatar). That said, I love this score.
It’s my favorite Horner score. It has those great driving rhythms he does well.
It fits so well with the material. Plus it does reuse a cue from the first
film, one of my all time favorite music cues, in the elevator scene near the
end.
LG: And
the stuff that is original works like gangbusters. And so does the stuff he
adapted from his Wrath of Khan score.
His reuse of Goldsmith’s cue from the first Alien
brings us back to the structural similarities between the films: both end
with running from the alien, a fakeout ending, a surprise scare, and blowing
the alien out of the airlock., right up to the cryosleep ending. But Cameron does
these callbacks very well. It never feels like a retread.
MO: And
his use of slow-motion here is great: in the nightmare-exposition scene, in the
alien attack near the beginning, in the queen’s attack at the very end. He uses
it to heighten the situation very well. But the predominant theme here is
feminism and motherhood. I’ve argued that Aliens
is the ultimate feminist action movie. The opening credits have the “I” in Aliens in a slightly different font: it
looks like a vagina. The marginalize woman has to prove herself. The female
protagonist is more empathetic than the male characters, even the more
masculine female. The four strongest characters in the film are all women: the
strongest civilian is Ripley, the strongest civilian is Newt, the strongest
marine is Vasquez, and the big-bad is an alien queen.
LG: I
think you may be stretching it with the vaginal “I, ” but you have a point with
the way Cameron centers on the women. In the midst of all these characters he
keeps Ripley an active participant. She has more to do here than heroes in entire
action trilogies. It’s set up so she could have been hanging about as everyone
shoots the aliens, but she’s ultimately the only person who can get anything
done.
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| vaginal credits, yes or no? You decide! |
MO: A lot
has to do with her maternal instincts. For some godforsaken reason, the
theatrical cut deleted a scene where Ripley reacts to her daughter’s death, and
it strengthens the relationship between her and Newt, and her actions when she
protects Newt are now that of a mother figure. It fills a bit hole in her life,
and they develop a wonderful relationship, and when Newt falls in the
alien-nest, it gets the finale going. It’s ultimately a fight between two
matriarchs trying to keep their people going: Ripley with her daughter-figure
Newt, and the alien, who’s trying to keep her species going by impregnating
Newt. Something else Cameron does that’s great is that when he frames the
queen, she overwhelms the frame of the camera. It doesn’t quite capture her
enormity, which is terrifying.
LG: And
it’s great as a practical shot, as it makes the special effects more
convincing.
MO: It’s like the Jaws thing, where technological limitations make the director more
creative. Cameron does that sometimes with his villains: they’re so
overwhelming that the frame can’t capture him. He did this once or twice with
the terminator, and he does it even better. Finally, I’d love to note the dream
and birth imagery in both films: both Alien
and Aliens open with characters
waking up, almost in a sterile birth setting, which contrasts the more
horrifying births throughout them. Ripley is found almost in a cocoon, the only
thing keeping her safe….
LG:
There’s a lot of birth imagery: the nightmare sequence, the alien jumping
through people’s chests, and there’s a bit of dialogue in the Special Edition
where Newt asks if that’s where people come from.
MO: And
those two are almost impregnated by the aliens. And along with the nightmare,
there’s a lot of other nightmare imagery, both in the events of the film and
the fact that Ripley can’t dream without waking up in a cold sweat. She tells
Newt “don’t dream” at one point in the film, and when the film reaches its end,
she and Newt finally note that they might be able to dream now that the ordeal
is over. It’s a wonderful note to end it on where they really are safe. Had the
series ended here, it wouldn’t be like Alien,
where Ripley is floating out into space and might never be found. She,
Newt, Hicks, and Bishop are really going to be OK, as far as we know. It’s a
sense of closure that doesn’t feel cheap or unsatisfying. It’s well earned.
LG: After
the hell that these films put her through, I’d like to see a movie where Ripley
goes on vacation and nothing bad happens to her, because she has earned it.
MO: We’ll
pretend that all of the horrible things that happened to her in Alien 3 didn’t happen. I’d accept that
junk if the movie were any good, but it isn’t. Any final thoughts?
LG: I love
this film. I don’t know if it’s my favorite Cameron film, but it’s close
enough. I give it an A.
MO: I give
it an A too. I think it’s between this and Terminator
2 for what Cameron’s best film is, and I’d give this an edge. It’s his
richest, it’s his densest, it’s his best written, and I think it’s a
masterpiece.
Loren’s Grade: A
Max’s Grade: A
That’s it for our discussion of Aliens. If you agree or disagree feel free to comment bellow. Also, be sure to check out Max O’Connell’s blog The Film Temple for this and other great reviews including his review of the original Alien.
Other Installments in the Cameron Roundtable series:
Xenogenesis
Piranha II: The Spawning
The Terminator
Aliens (Special Edition)
Reach
The Abyss (Special Edition)
Terminator 2: Judgement Day
True Lies
Titanic
Avatar (Extended Edition)
That’s it for our discussion of Aliens. If you agree or disagree feel free to comment bellow. Also, be sure to check out Max O’Connell’s blog The Film Temple for this and other great reviews including his review of the original Alien.
Other Installments in the Cameron Roundtable series:
Xenogenesis
Piranha II: The Spawning
The Terminator
Aliens (Special Edition)
Reach
The Abyss (Special Edition)
Terminator 2: Judgement Day
True Lies
Titanic
Avatar (Extended Edition)
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