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Aliens
(1986)
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Preceeded
by:
Alien (1979)
Succeeded
by:
Alien 3 (1992)
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Director:
James Cameron |
COUNTRY
USA/UK |
GENRE
Horror/Science
Fiction |
NORWEGIAN
TITLE
Aliens |
RUNNING
TIME
154
minutes |
|
Producer:
Gale Anne Hurd |
Screenwriter:
James Cameron |
Review
Six years had passed since Ridley Scott
released the lurking sci/fi-mystery,
Alien when James
Cameron, fresh from the success of The
Terminator, reprises the creature and the heroine but
certainly not the atmosphere of Scott's film. Aliens is a far
more noisy, rough-edged and relentless film that behaves a lot more like a war
movie than a science fiction film when Cameron lays his foundation early on.
He is in a hurry dealing with 'the return of Ripley', and the first part
of the film suffers from it. Her motivation isn't justified well enough,
and what with her age? Or her remarkable story? Or her position as a
veteran captain? Nobody seems to take notice or care. Instead, people
around her are more occupied with being the toughest marine, delivering
the lamest of sayings or being as selfish as possible. Not for the first
(or last) time does Cameron write a handful of pathetic stereotypes that
are about to ruin the fun with some of the worst dialogue you'll find in
movies.
But then Cameron's immaculate gift for
creating fast-paced, well-adjusted, nail-biting action elevates the film
from dreary drama to first class thriller. There is no let-up as Ripley
starts taking over and Cameron's script becomes gradually more clever.
The alien itself has been wisely kept more or less the same as in
Scott's film, but there's an impressive sequence involving a queen
alien, and the film thrives from the fact that the filmmakers don't try
to overrate its monsters. They are simple but forceful creatures whose
only purpose is to find a way to live and breed. Their nature isn't
scary per se, but the combat they indulge in becomes as exciting and
suspenseful as anything you'll see in this genre. Cameron keeps his
production tight and on the money, and Aliens is another
testimony to the fact that the Canadian director fares better with
machines than with humans. It isn't elegant, but it is shamelessly
effective.
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