Similarly, Alien: Resurrection (US, Jean-Pierre Jeunet, 1997) received a more lukewarm critical reaction and the original cycle of movies was thus considered over. Aliens (US/UK, James Cameron, 1986) followed up shortly after, almost to the same – if not more – critical and audience acclaim, while a third instalment Alien 3 (US, David Fincher, 1992) was released to a more middling response. It also introduced us to one of the most resourceful and enduring heroines in cinema history, Ellen Ripley (played by Sigourney Weaver), who not only manages to outsmart the creature and escape to safety but cemented herself as a genre icon by returning to battle with the creatures throughout the subsequent three films. Giger, the titular alien is a frightening chimera of phallic and vulval threat, deep Freudian fears, and a neo-noir femme fatale embodiment of impregnation and sexual anxieties. Chronicling the interstellar journey of the crew of a commercial tug operation, Alien introduced the now-iconic Xenomorph, an extraterrestrial organism that parasitises a host and is violently born, maturing into a hulking, biomechanical nightmare of deadly efficiency and ferocity. G iven a memorable birth in the late ‘70s, Alien (UK/US, Ridley Scott, 1979) had a profound effect on the science fiction and horror genre, with its timeless influence, still felt in films today.
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