Directed by:
David FincherCinematography:
Alex ThomsonComposer:
Elliot GoldenthalCast:
Sigourney Weaver, Charles S. Dutton, Charles Dance, Paul McGann, Brian Glover, Ralph Brown, Danny Webb, Holt McCallany, Lance Henriksen, Christopher Fairbank (more)VOD (3)
Plots(1)
When Sigourney Weaver's spacecraft crash-lands on a prison planet, she thinks things are as bad as they're going to get: the inhabitants are murderers, rapists and thieves. But she doesn't know about her craft's stowaway, the only other survivor of the crash: the vicious alien life form that lives to kill! As the body count rises, the desperate humans band together for survival. But with no weapons on the planet, how can they fight? (Home Box Office)
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Reviews (14)
I'm putting this film a little below Scott's original opus. Fincher's a talent, there's no denying that. Unfortunately, the third installment of the series was reportedly treated by the studio as unwanted, so it was a problem to fit it into the budget at all (which is visible in places). Yet, after Cameron's spectacularly militant shootout, this psychological play is literally a revelation in a completely repulsive space crime environment for the worst offenders. The creeping terror is trickier than ever, guns are scarce, and Ripley has to fight on two fronts -- a hungry intruder and creepy "roommates". Maybe the third film is something else entirely than what was expected, but in hindsight, I like it more than Cameron's contribution to the Alien family.
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The Alien franchise is remarkable for the fact that every director has made his mark on his episode. Scott's imagination and Cameron's belligerence have been replaced by the heavy blanket of depression master David Fincher. Welcome to the bleak world of ex-convicts from which there is no escape. The third episode is not worse than the previous two, it’s just different.
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A hesitant chapter of the Alien mythology that significantly undermines the efforts of the producers. In their edit, the film is a play on effects that throws Ripley in the path of a bunch of tough guys (as in Aliens) in a depressingly themed environment (as in Alien). Though David Fincher didn't supervise the special edition, a surprisingly more sophisticated version was created according to his original notes, with more references in the dialogue to the previous installments, explorations of the gloomy planet... and the alien does not hatch from a dog. Nevertheless, I don't particularly like the third image in the Alien mosaic. The strange supporting characters, an unnecessary religious subtext, and downright bad special effects cannot be overshadowed even by the powerful ending.
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The first one was (and still is) a formidable claustrophobic machine for mining nerve-wracking atmosphere and suspense; the second one is a militant feast in honour of the most terrifying monsters in modern cinematic history that doesn't let us get away from aliens in the right sense of the word. The third one wants to take something from each by using a single bloodthirsty monster and involving a group of seemingly twisted characters, setting the action in the vast, depressing labyrinth of a prison where life as a symbol no longer has any intrinsic value. The cast is once again perfect and the characters are quite diverse, and it’s not possible to guess who will end up as a bloody spot on the wall and with whom the script has longer-term plans. And as for Fincher's debut, it's a well-known fact that the studio tried to repeatedly rape and control his work, which is unfortunately noticeable: the depressive barrage is at times on a similar level to its predecessors, but partly due to the very choice and nature of the setting, where even a brain-dead would get depressed; and on the other hand, it has a rather fading tendency: the performance of the intruder, like in the first one, is based on suggestiveness, but fails to generate intense flamboyance during its advances (also due to his strange digital form), and mostly doesn't even act as a highlight of the film – that would be the skilful subjective camera work, the effective soundtrack and the already mentioned actors, led by the excellent Weaver, who is more dominant from part to part. It's worth watching, it doesn't offend or fail, but it still makes me sad to think that there could have been a pure Fincher version that would have shown his narrative genius and fulfilled the potential of a great subject into something grander and more distinctive.
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The first time in this cult franchise we have two key elements playing the main role. The first one is undoubtedly the Alien itself, and the second is the depressing and oppressive setting along with the morality and psychological profiles of the convicts – serial killers, violent criminals, pedophiles. David Fincher doesn't waste anything in his debut and his camera escapades (the Alien’s POV) are already a signature. Unfortunately, the monster is again only one and also annoyingly computer-generated when shown in full. Compared to the second installment, there is a slight downgrade, but the atmosphere is brilliantly depressing, and the play with lights is amazing. For example, the lighting of the background during the autopsy is worth mentioning. The emphasized faces alternating with short shots of the scalpel's sharp macro details are incredibly suggestive. Likewise, the prisoners have very well written characters, and the ending, as presented by Fincher, is not particularly surprising. Definitely a progressive and the most peculiar Alien.
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Gallery (111)
Photo © 1992 Twentieth Century Fox
![Alien³ - Photos](http://image.pmgstatic.com/cache/resized/w663/files/images/film/photos/158/467/158467586_6d3a7b.jpg)
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