Director Jean-Pierre Jeunet’s whole movie is utter chaos, with bizarre ideas, weirdly sensual imagery and more translucent gloop than any other movie before or since. Sigourney Weaver’s final “Alien” movie (so far, at least) transforms Ellen Ripley into a half-human, half-alien superclone who kicks ass, flirts with everything and plays a mean game of basketball. “Alien Resurrection” (1997) 20th Century Fox But the half-hearted story and forgettable characters bring down the whole enterprise. Moreau on a remote planet and a kindly version of the same android model, each becoming fascinated by the other. “Covenant” is fantastically photographed by Scott’s frequent DP Dariusz Wolski, and Michael Fassbender does creepy double-duty, playing both a monstrous artificial person playing Dr.
The follow-up to Ridley Scott’s “Prometheus” somehow completely forgets to be a follow-up to “Prometheus,” resolving all the dangling threads from the previous movie in a quick flashback - even though that resolution seems extremely interesting - and instead focusing on a new crew of victims who make terrible decisions while they search for extraterrestrials to murder them. “Alien: Covenant” (2017) 20th Century Fox Brown, Trevante Rhodes and Keegan-Michael Key, to name a few, are wasted in a film that sacrifices everything else for the sake of poorly developed world-building.
We learn more about the Predators than ever before, but it turns out the real reason they came to Earth is completely ridiculous, and the film’s approach to mental health (most of the characters are soldiers diagnosed with serious issues) is completely reductive and insulting. Shane Black, who co-starred in the original “Predator,” reunited with his “The Monster Squad” collaborator Fred Dekker for a film with a solid pedigree, an exciting cast and lousy ideas. So instead of appreciating all the nasty, gory special effects - there’s one kill at a hospital that’s easily the most disturbing image in the combined history of the franchises - we’re stuck listening to poorly developed characters and their forgettable subplots until they die in shadows so thick they may as well have been off-camera. Set immediately after the first “AVP,” this film about an Alien-Predator hybrid wreaking havoc in small-town America has a lot of gruesome monster effects, but you can’t make them out because the lighting is too dark.
Predator: Requiem” is legitimately hard to see. Lots of poorly made movies are hard to watch, but “Aliens vs. Predator: Requiem” (2007) 20th Century Fox
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