Search: ‘Alien’

A visionary piece of cinema, 5000 Space Aliens takes a simple idea and uses it to drill down into something deep rooted in the human psyche.

Scott wrings out every last drop of suspense from the film.

All very big and spectacular and in your face.

It’s all wildly incoherent, and will seem all the more so if you don’t have a grounding in the rules of Korean fantasy magic, but there’s still plenty of fun to be had.

To think that Ridley Scott provoked so much tension and dread from just one is strange. When they are all over you, it makes for a superior sequel.

An irreverent, warm-hearted comedy in the tradition of Tremors.

This is a mess. An ambitious mess...but mess nonetheless.

Nothing is taken too seriously - there's plenty of teasing within the group itself - but respect is shown for the effort that has gone into all this.

The sheer unexplained terror of the Aliens is more than enough to make them watchable.

In the opening sequence we're shown a relief carving of a xenomorph. Such a thing could be used as a mould, but the film is so intent on replication that it doesn't break it, or free.

The over-abundance of cliched and banal action movie situations - the would-be witty one-liners, the should-have-been-impressive set-pieces etc - that never seem to have quite the impact the film-makers desired.

A successful formula bears repeating, but what ought to be fondly familiar here is just annoying.

Rattles from one incoherent action scene to the next.

This movie scores well on the quirky British movie scale.

Its use of blood and slime and razor teeth is more inventive than a 12-year-old needs watch.

With so much good work involved in the cowboy side of the film, it's a real shame that the aliens appear to have been hastily sketched on the back of an envelope.

What the movie does best is gore and ickiness.

I fell asleep several times during the film, but some of it wasn't dreadful, some of it was just bad. Very bad.

It is left for the viewer to decide, although by giving his documentary such a cabalistic title, it is clear where Carman stands.

This is a film which knows exactly what it is and what it wants to achieve and, as a result, never pretends to be something it’s not.

As a tribute to those who are not blessed with personality, the film is a ray of hope.

It's trying so hard to model itself on other war films that it never really finds a voice of its own.

There are some good stories - various myths around the filming of Alien are punctured, but one of the film's central theses is a mythological one.

A strangely honest take on how people cope with the shock of impending parenthood.

The best gags, at least for the over 20s, subvert 50s sci-fi movie convention.

It has its moments, and for the most part it’s warm-hearted and likeable enough to make up for the odd mis-step.

Small movements – the awkwardness of a child shrinking into himself, the hesitation before speaking, the forced confidence of fitting in – gain an almost painful realism.