Urban legends in general are quite fascinating to me. I’ve spent many late night hours reading through whole websites dedicated to these modern day myths, and they are a fertile ground for an imaginative horror movie. Of course, this movie came out in the wake of Scream and does a lot to follow in that style. Unfortunately, it was an extreme rarity that any of those types of trend cash-ins were any good. I clearly remember seeing this on opening weekend and regarding it as not scary at all. In no way do I expect that sentiment to change after fifteen years. I’m reviewing this because it was high time I got back to some very critical reviewing, and nothing’s better than a disappointing post-modern slasher film for that task!
When New England college student Natalie (Alicia Witt) finds herself at the center of a series of sadistic murders seemingly inspired by urban legends. Natalie and her friends are all involved in the Folklore class being taught by Professor Wexler (Robert Englund). Wexler regales his class with urban legends, which include Pendleton’s own urban legend about a Psych professor who murdered six students at Stanley Hall 25 years ago. As the fraternities prepare to celebrate the macabre anniversary, and Natalie’s friends fall victim to this axe wielding murderer, she discovers that she is the focus of the crazed killer’s intentions in the ultimate urban legend – the story of her own horrific murder.
This is not a badly made movie. It has respectable, polished production values and top notch gore effects. Cinematography is wholly competent with solid compositions and smart camera moves punctuating the dramatic moments. The editing is mostly great, side from the gimmicky flash cuts. So, I think the problem with the effectiveness of this movie is that these urban legends are so terribly familiar to us that the movie becomes damn predictable. There’s little tension or suspense when you know how the kills are supposed to be plotted out. While playing them out verbatim perfectly fits in with the killer’s ultimate motives, creatively, it would have been more effective to put a fresh twist on them. Have them play out not exactly as you would expect them to, but still be evocative of the classic tales. Of course, the various false jump scares don’t help matters either.
The red herrings we get as to the identity of the killer are also quite underwhelming. They are dashed about as quickly as they are brought up. This sort of thing worked better in Scream where no one was ever entirely absolved of potential guilt in the eyes of the audience. Everyone was an equally viable suspect, but here, the suspects are not very credible nor are they main characters. They show up for two or three scenes total. The main characters are not implicated as the potential killer, and that evaporates a lot of heightened tension and paranoia that could have existed in the movie. As it is, there’s not much focus put on who the killer is, but more the methods that this killer uses.
And one last negative critique would be that the look of the killer is not all that intimidating. A relatively small statured person in a hooded parka leaves a lot to be desired in the realm of chilling imagery. All the great, iconic slashers have not only a instantly recognizable, unmistakable look to them, but they also have a distinct personality in how they move and act. This slasher, which doesn’t even have a name to its credit, comes off entirely generic with no distinct personality in its movements. This takes away a lot of the menace this killer could have had, and thus, further adds to the lack of effective horror in this movie. While Ghostface was a different person in each Scream movie, the image of Ghostface was iconic and carried a strong weight of horror with him. The Urban Legend slasher is just terribly forgettable. If this killer wasn’t wielding an axe, you wouldn’t feel any serious imposing threat from him/her at all. I think my critiques hold weight with the makers of the sequel Urban Legends: Final Cut since they entirely revamped the look of their killer.
Still, the film has a few exciting sequences such as when the killer is chasing Tara Reid’s Sasha. It’s fairly intense and suspenseful as Sasha tries to evade this axe wielding maniac. Shortly thereafter, the climactic chase sequence in the storming rain is pretty good with some good tension and strenuous physicality for Alicia Witt. Proving my point, this is when the killer turns away from urban legend themed kills, and just starts going after people full boar. These are the scenes that work because they’re not so predictable. They keep an audience more on edge in the midst of random peril. They’re surely not wholly original inventions in the slasher genre, but they are staples of it because they are effective. So, it is that final 20-30 minutes which actually become intense and suspenseful, but for a 100 minute horror movie, that’s not very adequate.
On the acting end of things, Alicia Witt delivers a solid leading performance making Natalie sweet, vulnerable, smart, and tough. I like when she punches Joshua Jackson’s Damon Brooks right in the face after a bad come-on in a parked car showing there’s some assertiveness in her. Witt is a strong actress with a lot of talent to her credit. Plus, she’s a beautiful redhead, and I absolutely adore redheads. Jared Leto has a decent performance here as college newspaper reporter Paul Gardner, but his character just doesn’t have much personality on the page to speak of. Paul’s constantly trying to pry information out of everyone for his news story, but he doesn’t come off as the least bit imposing or ethically objectionable as that statement would suggest. Rebecca Gayheart is a fine talent working well as Natalie’s best friend Brenda, but offering little more, initially, than the qualities of the supportive friend. The latter end of the film gives her a lot more juicy material to work with that she really sinks her teeth into, and does an excellent job with.
Now. Michael Rosenbaum is plain awesome. After seeing him for so many years as Lex Luthor on Smallville it’s great seeing his comedic charisma in full swing here as the fun loving Parker. He’s charged up with energy and personality to spare, but Rosenbaum has enough charm to shy it away from becoming obnoxious. Tara Reid has a great promiscuous role as the saucy, sexually charged radio talk show host Sasha. Halloween franchise alumnus Danielle Harris clocks in as Natalie’s Goth roommate Tosh. It’s a good minor performance, and she looks quite hot in all that black garb.
Urban Legend features some notable horror legends in Robert Englund and Brad Dourif. Both of which put in solid performances. Dourif portrays a stuttering gas station attendant at the film’s start, and he’s sufficiently creepy. Englund gives Professor Wexler plenty of dignity and a little bit of theatrical edge for a strong, respectable performance. Both actors put a good measure of enthusiasm and quality into their roles here, and are small highlights that gave this film particular notoriety upon release.
The film’s score is provided by Christopher Young, who also did the music for the first two Hellraiser movies and last year’s highly effective horror film Sinister. Here, he does a far more understated but still admirable job. It has plenty of strong, tense cues throughout, and is probably a notch above the standard slasher film fare.
Now, I do really like the dark, shameful secret that Natalie has in her past, and how it ties into the motivation of the killer. It is all smartly and realistically put together. It makes for a nice twist in the climax that does get setup from Natalie’s story earlier on. The climax itself is pretty decent and typical for a slasher movie, but it’s surely far from terrible. It delivers some satisfaction, but it’s nothing that will stick with you like the endings of Halloween or Friday The 13th. The somewhat quirky coda fits for the movie, but also, doesn’t make a lot of sense. It could’ve used a better resolution that was more pertinent to the actual characters and story. It kind of goes with the half-baked feeling of the movie. It had good ideas, but just didn’t do anything worthwhile with them.
Ultimately, this is a real disappointment of a slasher film that just isn’t scary at all. They had a very talented cast to work with, and a premise that could’ve worked very well if it injected some original thinking into it. Instead, it just comes off as generic and predictable. The killer is entirely forgettable, and offers no menace or threatening presence. Director Jamie Blanks does a respectable job with Urban Legend, but the script is just devoid of ambition. He handles his cast exceptionally well, knows how to shoot a film very cinematically, and shows some talent for suspense. Yet, the film fails because the script uses a gimmick purely at face value without trying to add anything fresh or innovative to it. A killer offing people using urban legends is a clever idea, but screenwriter Silvio Horta progressed it no further than that. I know Jamie Blanks can make a good slasher movie because he did it with his next film Valentine, which I think is quite underappreciated. Given a stronger script, he can certainly deliver a much more effective product. It certainly won’t hurt you to watch Urban Legend, but it’s nothing special you’re missing out on. It did spawn two sequels that really were rather horrible that I would strongly advise avoiding. I saw them each once, and that was more than enough for me. This film is decent enough if you just need a mild way to kill 100 minutes. It likely won’t make you cringe, depending on your slasher film tastes, but it likely won’t excite you either.
The Exorcist franchise is like a roller-coaster – lots of ups and downs. The original film is an eternal, bona-fide classic. The Exorcist II, while I have never seen it, is generally revered as a terrible mess of a film. Things swing upward with William Peter Blatty’s The Exorcist III. Blatty adapts his novel Legion into this theatrical outing with him directing as well. While this film is very much in a far better direction, there was studio interference which mostly complicated and muddled the film’s ending. Still, there’s a surprisingly creepy piece of horror cinema to behold that has gradually become one of my favorite horror films of all time.
Set fifteen years after the events of the first film, we mainly follow Lieutenant Bill Kinderman (now portrayed by George C. Scott) who has formed a friendship with Father Dyer (Ed Flanders), friend and confidante of the late Damien Karras. It’s an odd friendship built on a love of movies and the memory of Karras. The Lieutenant is investigating an eerie string of disturbing murders that harkens back to those of the Gemini Killer (Brad Dourif), who was executed fifteen years earlier. There’s a religious subtext to some of the murders, but none of the forensic evidence pieces together from one death to the next. Things become stranger when investigating at the hospital Kinderman discovers an isolated mental patient who claims to be James Venamun, the Gemini Killer, but bares a striking resemblance to Father Damien Karras (Jason Miller). He is clearly insane, but knows everything about the original Gemini killings. He also refers constantly to “the master” who slipped him into this body as Karras was slipping out after his fateful fall down the steps fighting Pazuzu. Kinderman can’t see the evil within, but he feels it and knows the death and dismemberment it has caused. As Kinderman comes closer to deciphering this demonic mystery, his own soul and life could easily be in danger as well as others’.
This is a positive review, but I’m going to start out with the bad first, just to change up the template. The ending to this film was changed because after the studio renamed the film from the novel’s title of Legion to The Exorcist III, they realized there wasn’t a single exorcism in the script. To accommodate this, an extra plot line was introduced which bought Jason Miller back, and a line about seeing through “the eyes of faith” to accommodate having footage of both Dourif and Miller portraying the same general character. None of that is really a problem in terms of storytelling or the quality of the film. It’s all handled and balanced beautifully through clever editing and storytelling. Where the problem lies is the climax and conclusion of the film. What we’re inevitably left with is an overly grandiose exorcism with a breadth of fantastical, biblical, and blasphemous imagery which seems a little out of place and over-the-top. Granted, there is a heavenly dream sequence with a wealth of respective imagery. Also, there are supernatural elements throughout the film, but they’re more subtle. This ending breaks the restraints and lets loose the floodgates. In one perspective, it might seem appropriate like the gates of hell have been breached, and everything is being unleashed. However, to my perspective, it doesn’t seem to mesh all that well with the rest of the film’s style, and twists the story into an odd direction which isn’t as satisfying or coherent as it probably could’ve been. There’s also the dictated addition of Father Paul Morning (Nicol Williamson) to the film who is not given any character building scenes to integrate him into the story. This addition causes some storytelling problems, and seems like an irrelevant diversion from the plot until the finale justifies it. All of this doesn’t kill the movie, but I would’ve been interested to see what Blatty originally had in mind. Apparently, the novel does not have a happy ending.
Onto the good stuff. George C. Scott commands this movie. From the guy who won an Academy Award for his powerhouse portrayal of General George S. Patton (though, declined the award), that’s to be expected. He offers up a dry sense of humor, some degree of grief, but overall, he provides conviction and intensity to Bill Kinderman. The highly acclaimed character actor Lee J. Cobb originated the role in the 1973 film, but the actor passed away from a heart attack three years later. Ed Flanders takes over the role of Father Dyer from the real-life priest, Father William O’Malley. Jason Miller is the only returning cast member from the original film, and does a very subdued and creepy performance as the brain damaged ‘Patient X.’ However, where the acting really soars is Brad Dourif. Whatever roll he was on going into this film, it made his performance enveloping. You just can’t turn away. With the monologues he had to deliver, the role and performance could’ve killed the film, dragging it down into boredom. Fortunately, Dourif has a magnetism that just reels you in hook, line, and sinker. His charisma eats up the scene, and the sparks that fly between him and Scott are the meat of the piece.
This was only the second film directed by William Peter Blatty. The first being The Ninth Configuration from 1980 which Blatty once considered the real sequel to The Exorcist despite it’s connection being one briefly seen, unnamed character from 1973 film. Despite such a brief directing résumé, Blatty shows a lot of skill and competency here. This film oozes with creepiness, making it one that’ll twitch your nerves, and keep you jumping. There is one particular sequence featuring a white gown and a killer musical stinger that’ll freak you out. Just thinking about it gives me the chills. No matter your own opinion of the film, this sequence will get you every time.
The musical score by Barry De Vorzon is quite fitting, and immensely effective. I was previously familiar with his haunting and intense score on the cult urban action film The Warriors, which was very much of its time in the late 70s. The Exorcist III score is much more traditional, but still haunting as well as chilling. It makes itself essential to building the atmosphere of the picture.
The director of photography, Gerry Fisher, gives this picture great composition and an amazing look in certain scenes. Every time the film ventures into the isolation chamber, the lighting is so beautiful in an exceptionally dark and eerie fashion. Fisher previously lensed the fantasy adventure classic Highlander with amazing artistic talent, and wonderful composition. The Exorcist III doesn’t call for anything as epic as Highlander, but the artistry is still beautifully evident. He definitely gives the film a visual impact that lasts.
There are some discrepancies between the original 1973 film and this sequel. Likely, these are due to Blatty focusing more on his original novel source material instead of Freidkin’s feature. The primary issue is that, in The Exorcist, Kinderman and Karras barely knew each other. They meet for one conversation for their first meeting ever, and are never seen together again. Here, it is heavily referenced that the two men were best friends, and knew each other quite well. It’s that friendship which drives Kinderman’s intense investigation, and motivates the plotlines along. I have not read Blatty’s novels, and so, I cannot confirm or speak to any of this speculation. However, considering he is the author, screenwriter, and director, it’s easy to conclude that these are character connections he always intended in some form or another. Other issues are easily resolved. The year of when the events of the first film occurred has been altered to 1975, but there’s nothing in the first film to conflict with this. Just the fact that it was released in 1973 is all that causes any issue at all.
Overall, I feel The Exorcist III is an amazingly well done film, and only the interference of Morgan Creek executives diminished and hindered Bill Blatty’s vision. Paul Schrader and Renny Harlin would also learn of this over a decade later when filming their respective prequels to The Exorcist, and Blatty blamed no one but Morgan Creek for both versions’ failures. A director’s cut of The Exorcist III is apparently never to surface due to Morgan Creek being unable to locate the footage. Still, despite these obstacles and tampering with the film, I honestly feel an effective, original, enthralling, and exceptionally satisfying horror film shines through. Blatty showed great talent and competence in both scripting and directing, and George C. Scott’s performance is a powerful and intense as you’ve come to expect from him. Ultimately, this is a great surprise considering the more maligned entries in this franchise (save the original), and is indeed one hell of a terribly creepy film. This is a horror film I can watch just about anytime and be pulled into every time. This is what has gradually made it a strong personal favorite of mine which I would also consider one of the best horror movies ever made. If for nothing else, it’s a good watch for a dark, lonely night.
With Alien: Resurrection, it became painfully obvious that Twentieth Century Fox was now less interested in making credible sequels and more so in just bleeding this franchise dry. Let’s try to put this into perspective. Joss Whedon, as many know, is the creator of Buffy, The Vampire Slayer, Angel, & Firefly. He’s a proven great screenwriter and director. He is the screenwriter for this film as well, but by his own admission, the filmmakers executed every aspect of his script wrong. Everything imaginable was done wrong from Joss’ written vision. Various other aspects were introduced by the film’s shitty French director Jean-Pierre Juenet. This, mainly, includes all the bad, stupid humor. The worst part of it is the fact that he’s very proud of all the stupid comedic bits, thinking it makes the film more entertaining and fantastic. This is the sort of thing that flushes the film down the toilet. Watching the DVD Special Edition cut, other things become obvious. His originally intended main title sequence is stupid, irrelevant, and directly setups a terrible tone for the film. It comes off as total, stupid B-movie cheese, and the cheap CGI effects drag it down to even lower levels. The theatrical cut sets a much better tone, but it hardly sets you up for how abhorrent this film really is. So, by that train of thought, the Special Edition introduction fits the quality of this motion picture much better.
After killing herself to prevent the government from taking the monstrous Alien to Earth, Ellen Ripley (Sigourney Weaver) awakens 200 years later to find she has been cloned in order for scientists to withdraw the Alien DNA living inside her. As the world around her begins to fall apart and the terror begins again, Ripley realises that the scientists who cloned her may not have fully removed the Alien from her, at the same time that she is, once again, perhaps the only one who can stop the horrific infestation from reaching Earth.
Alien had Ridley Scott, Aliens had James Cameron, and Alien 3 had David Fincher – filmmakers who have all gone onto very high profile, blockbuster, and critically acclaimed careers. Jean-Pierre Juenet is about third class next to them. Where the previous three films gave the franchise a real weight and emotional depth, this film becomes a badly done and clichéd comic book adventure. It shows nothing of subtlety or intelligent originality. It’s all BIG camera moves, BIG action, BIG (yet shallow) characters. It also features over-the-top and cheesy performances by all but two cast members.
Ron Perlman and Michael Wincott are exceptional actors who are always reliable for bringing the goods. Wincott tends to bring a mysterious and engaging quality to his performances. Top Dollar in The Crow is probably his most high profile role. Here, it’s more low key, but that just makes him more intriguing. I think he could shine well in a classic film noir feature. Unfortunately, he has very few scenes, and gets killed relatively early. Ron is a bad ass, plain and simple. There’s a definite reason why he got such a role in Blade II, and more importantly, as Hellboy. He’s good at ass-kicking, gung-ho roles. This outing is no exception. Although, most casting choices are uninspired. One might be used to Dan Hedaya in more comedic roles, but he has fit into a dramatic feature well, such as The Usual Suspects. Here, you might think that his character would be made to hold more dramatic weight, but it’s 99% bad humor. General Perez does not come off, remotely, as a serious military officer. He comes off as a mentally stunted fool. Compared with Apone or Hicks from Aliens, he’s a buffoon. I’d sooner be led by Bill Paxton’s Hudson. If Perez is representative of humanity’s military, then it’s a sad state of affairs for the human race. Winona Ryder is no Carrie Henn, in terms of a vulnerable female role, and is no Lance Henriksen or Ian Holm, in terms of a peculiar android (or ‘artificial person’). Simply said, she fails to provide Annalee Call with any true depth or fascinating quality. There’s no reason for her to be here, let alone anything for her to do in this role. Brad Dourif provides nothing but over-the-top goofiness. You can’t take him seriously for a second. Good over-the-top Dourif is The Exorcist III, this is Dourif on the opposite end of the quality spectrum. Doing it with all the weight of a feather, and being god awful in a role you want to forget in short order. So many of these roles are cliché, paper thin characters meant to fit a cardboard cutout archetype to service the poor plot. You need the evil military guys, the mad scientists, the gruff mercenaries – all check. So, there is a need to scrutinize Joss Whedon’s script. I know he’s capable of far more diverse, complex, and interesting characters than this. I just don’t understand how he was responsible for such a lightweight, flat, and uninspired script. I can understand the filmmakers botching up the execution of the script, but I can’t believe they drained depth and character from it to where Joss would still accept a screen credit. Much of it would have to be Mr. Whedon’s fault, unfortunately.
Now, you have to ask where does Sigourney Weaver fit into all of this? She’s not playing Ellen Ripley. Not the Ripley we came to know and evolve with through the first three films. This is a hollow shell of a character with the memories of Ripley, and slight emotional traces thereof. But she’s not the weary, battle hardened, desperate character that Alien 3 left her as. Nor is she the strong, assertive, and haunted woman of Jim Cameron’s film. Sigourney does give us a rather creepy character, but it’s nothing recognizable to the franchise’s fans. Her character is truly alien. The emotional state of this Ripley Clone is sporadic and erratic. It’s all over the map, not allowing an audience to connect with the franchise’s heart and soul. It also plants Weaver, firmly, in the mud. She has no place to expand or grow with this dead role. Ellen Ripley’s character arc concluded with Alien 3. Closure was had, even if it was bleak. She went through all kinds of hell, saw so many die, and the pain and loss was absorbed into every fiber of her being. She was as human as any character you will find, and her end came with pathos and poetry. You might not have liked it, but within the context of that story, her death was appropriate and purposeful. It should not have ended any other way. Then, they go ahead and piss all over that with this cold, hollow “resurrection.” It is D.O.A. Sigourney Weaver’s role is one you cannot emotionally invest yourself in because she has very little emotion to offer. It’s about the stark opposite of the real Ellen Ripley we saw in the first three films. Suffice it to say, this film easily could’ve been scripted and shot without Sigourney Weaver or anything including Ripley since this really isn’t Ripley, not in spirit. She’s a stranger amongst strangers, and a stranger to her fans.
Moving on, and as I said, the film is filled with BIG everything. Every shot in the film is something complex and highly involved. There’s always movement, and extremely little, if any, subtlety in its cinematography. This forces the film to be less grounded and more overly dramatic. Dutched angles are seen throughout. Some scenes have one after another after another after another, for no effective reason. Juenet and cinematographer Darius Khondji were painting with broad strokes to show off their budget and gimmickry. Just them trying to make the film look artistic and interesting while achieving neither. Furthermore, every action sequence is over shot. Push-ins, sweeping crane shots, steadicam madness, low angles, high angles, dolly tracks. Khondji just throws all the tricks into every sequence, turning them into a massively over worked mish-mash, and not trying to differentiate one from another. Once the action begins, it’s shifted into hyperactive mode. It’s like Michael Bay on steroids – everything done to maximum capacity and minimum reality. At least with Michael Bay, he does it to give his films an epic feeling, this all falls flat for me. Also, the film is saturated with this sickly green tinge that is simply too much, and makes the film exceptionally unattractive to watch. When it’s not green, it’s this deep brown which is equally unattractive. Just adds to the excessively stylized comic book visuals that only further flushes the film down the crapper. There’s no beauty or inspired photography in the look of this film, ever.
Like I stated before, there are stupid concepts in this film, some minor, some major. A minor one also shows the lack of thought put into the futuristic setting. In several hundred years, why would we still be using paper currency? Even today, in the early 21st century, we’re mostly relying on debit and credit cards. Most people don’t handle tangible currency, it’s mostly computer based funds. Bills are paid online, plastic cards are swiped to make purchases. Three or four hundred years from now, paper currency will be an ancient concept. Also, a pinhole crack in a space ship’s hull (or window) would not cause the effect seen in the film’s climax. It is simply against the laws of physics and intelligence. But it fits in with the complete stupidity of the film.
Far larger dumbass ideas culminate in the abomination called ‘The Newborn.’ I won’t even bother commenting on its design as I think ‘abomination’ says enough. It’s just pathetic that one of the most merciless, relentless, and fearsome creatures in the history of science fiction cinema is dwindled down to this lame ass, mutated, embarrassing mess. Twisting the knife further, it actually says, “Mommy.” A further slap in the face is how helpless the Alien Queen is depicted as, and the fact that this regurgitated beast bitch slaps her to death. James Cameron and Stan Winston have been insulted. As bad as all that is, the French hack makes it even worse – Ripley makes love to the damn Alien! You may vomit now. It’s nothing graphic in detail, but the implication alone is enough to make you sick. And the complete hack director of Catwoman, Pitof, is the film’s special effects supervisor. Seems French hack director socialize with other French hack directors, both destined for bankrupt American filmmaking careers.
The film’s effects are a divided issue. The CGI is obvious and substandard. I keep wondering how, in 1993, at the dawn of digital filmmaking, we got realistic, flawless, seamless computer generated dinosaurs in Jurassic Park, but over fifteen years later, we continue to get cheap, crappy CGI effects in countless films (even for high profile, big budget films). This film was all of five years later, and the computer generated Aliens and effects are hardly seamless. There is no effort involved in picking them out from their live action surroundings. The physical effects, on the other hand, are definitely up to standards. This is due to Amalgamated Dynamics Incorporated – mainly Allec Gillis and Tom Woodruff, Jr. They worked with Stan Winston on Aliens, and took over with their own company, ADI, on Alien 3. I’m not keen on the brown, veiny Aliens, but the quality of the physical and practical effects, across the board, are of a high standard.
You can talk about the film’s score, but it’s nothing exceptional. Standard fare, forgettable horror-action cues. Which rather sums up the film. The entire problem with this film is that it takes a fairly serious franchise constructed by three serious filmmakers who injected it with strong layers of suspense, terror, and character depth, and then, deteriorates it into one-dimensional, one note characters and over worked action sequences. Suspense and terror barely fit into the mix. It’s all replaced by poorly conceived ideas, and a badly interpreted and executed script. It is one bad turn after another that beats the credibility of a once great franchise further into the dirt until it’s six feet under, and then, spits on the grave for good measure. If this was some terribly troubled production with all kinds of creative differences (i.e. Alien 3), some of this might be forgivable, or at least, understandable. But it absolutely was not. Director Jean-Pierre Juenet loves this film with all his heart, and thinks everything he did was wonderful and fantastic. Perhaps, even brilliant. The reality is that he made an abomination of a film that drove the final, hot, sharp nails into the coffin of the franchise. It could’ve ended with Alien 3 without much argument, at least, in light of Alien: Resurrection, but alas, the Hollywood money machine kept on milking it. Paul W.S. Anderson went on to beat the dead horse further with AVP, and unfortunately, put a bullet through the heart of the Predator franchise as well (which hardly had been run into the ground). AVP-R, in my opinion, helped to turn the tide a bit, but it all remains to be seen.
This film, on its own, is pathetic and badly done. When compared to its predecessors, it’s a terrible piece of cinema that never should’ve been. A fourth Alien film, if it needed to be done (which it didn’t), could’ve been put into the hands of any number of far more credible, talented, and higher quality filmmakers. How it landed in the hands of a Frenchman who had never made an American film before, let alone anything in the realm of straight horror, is beyond me. It failed on every level. There are very brief bits of goodness here, but they are crumbs that will not satisfy your hunger for another well-made Alien film. This is a straight shoot ’em up splatter fest devoid of the suspense and character depth each previous entry had instilled in the franchise. Nothing is improved upon in the Alien Quadrilogy DVD Special Edition cut. It just prolongs the agony, and there’s not enough of a distinct difference to offer a separate review of it. This one review covers enough, and you can feel free to send it down the refuse, again. This could rival Highlander II, Freddy’s Dead, & Jason X as the worst genre sequel of all-time. It really was and is a letdown in light of where the film series began and evolved to. This sequel is a poor afterthought for a franchise that still had a decent measure of credibility remaining. Thankfully, you can still watch the first three films as a complete trilogy, and easily ignore Alien: Resurrection in its entirety.