During its return to the earth, commercial spaceship Nostromo intercepts a distress signal from a distant planet. When a three-member team of the crew discovers a chamber containing thousands of eggs on the planet, a creature inside one of the eggs attacks an explorer. The entire crew is unaware of the impending nightmare set to descend upon them when the alien parasite planted inside its unfortunate host is birthed.
- Category:Action, Horror, Sci-Fi, Adventure
- Stars:Sigourney Weaver, John Hurt, Tom Skerritt, Harry Dean Stanton,
- Country:UK, USA
- Director:Ridley Scott,
- Writer:Dan O'Bannon (story), Ronald Shusett (story), Dan O'Bannon (screenplay)
"In space, no one can hear you scream." On the way home from a mission for the Company, the Nostromo';s crew is woken up from hibernation by the ship';s Mother computer to answer a distress signal from an unexplored planet. After searching for survivors, the crew heads home only to realize that a deadly bioform has joined them. . You can read more in Google, Youtube, Wiki
Alien torrent reviews
(ru) wrote: I keep seeing all these excellent films recently! And no I dont feel the slightest need to say anything intelligent about them aside from posting starred ratings
(br) wrote: A beautiful, beautiful film that is unfortunately marked by controversy. What is controversial about the film, and what becomes more so upon the leading actresses' testimonials, is the way gender and orientation plays a role in the various sex scenes that occur. Namely, that a heterosexual man filmed two heterosexual women for the 10 minutes of screen-time, but basing some scenes off a homosexual woman's graphic novel. While there is no definitive answer of who's gender and who's orientation intersects to create this controversy, I think it's worthwhile remaining inquisitive of why those that hold power continue to tell the stories of marginalised peoples. Despite that, some scenes that resonated with me most were in the first half of the film - of teenagers pressuring teenagers to conform to their socially accepted gender roles, and being pressured to understand complex sexual identities, while struggling to fit in through a whole lot of confusion. As always, LGBT films continue to remain on the sidelines of mainstream cinema. But there is no doubt that Blue is the Warmest Colour plays its part in integrating (and normalizing) these stories into the public conscious.
(fr) wrote: Svenskane kan det laga film =) God film
(jp) wrote: Having watched some of the old B-movies and unknown movies courtesy of Something Weird Video, and having enjoyed Grindhouse, I was thrilled to see this history, albeit a surface-skimming look at the exploitation movies that played in the theatres on New York's 42nd St. The genres of those movies and the days before, during, and after the Hays Code is discussed, as is the influence of movies that spawned big budget cinematic releases.From film noir, juvenile delinquent flicks, horror, nudie-cuties, roughies, blaxploitation, and Nazi stuff, this covers a lot of ground, although maybe it should've been a half hour longer. Still, it's good to see Herschell Gordon Lewis and David Friedman, Jack Hill, and others who directed those films share their memories. John Landis seems all too cheerful and enthusiastic in his delivery.
(us) wrote: Generic slasher that fails to kick off and has the usual boring elements found in these lifeless ripoffs. The characters have little developing, which is good since the film gives little remorse for them in the end. It ultimately just becomes a chop-show.
(ag) wrote: Ok stuff. The fact that I sat thru the entire thing showed (for me at least) that it wasn't so bad. The ending was getting a bit cliched but it was pretty ok.
(us) wrote: Wonderful flick! Not that well made, but cleverly executed after all.
(br) wrote: This movie would fall into the cute, but slightly forgettable realm of the queer movies of this kind, if it were not for Patrick Stewart and his lover who passes away and shows up in dreams in a white Cats Musical costume. Kind of wonderful.
(mx) wrote: Still one of my favorites from my childhood
(ru) wrote: This western was a pleasant surprise. Reminded me of a 1970's version of 1994's Tombstone. Big cast and big action. Most of Waynes' films around this time were smaller westerns adventures and smaller casts. This one has a good mix of fun, action and even a contemporary moral tale about the dangers of corporate monopolies and the corrupting influence on the Army and politics. The scene where Forrest Tucker's character of Murphy the new land barron is a bribing a US Army Colonel is classic. You'd swear it was Dick Cheney grilling a US Army General for a Halliburton contract. The rest of the cast is excellent and the story is predictable but entertaining.
(it) wrote: I actually DID feel confused a lost a couple of time during the film, but only in the first half. It did jump around a lot, but after a certain point I clicked into Oshima's fast-paced rhythm (and it has about 2,000 cuts so that is a lot even by today's standards), and it has such a fiery sense of what is right and wrong and how the gray areas of the world just take over, and also how a rapist and murder can be understood, if certainly not "liked" at all. It's a dynamic, angry character, simmering and volatile, and when he's on screen you can't take your eyes off him (and it makes for one of the really great openings to any movie, as he enters a house and eyes a woman, a very dangerous-sexy scene). I really got engrossed in this story of suicide, regret, guilt, and what happens when enveloped in society - that it's a murder mystery is so secondary a note, maybe even the last thing on Oshima's mind. In fact if it hadn't been for a scene on a train that is just shot very clumsily and pretentiously, it might be close to being a perfect "art" film, where a director takes some major chances with style and effect to tell his story. As it stands, I was drawn into Violence at Noon through the emotionally harrowing performances and the innovative editing (and even among other "New Wave" filmmakers of the era who used editing to unconventional effect this had an uncanny sense of going back and forth in time - taking on memory as snapshots, but still cohesive for a full story).
(ag) wrote: Not one of his greater films, but godard's sense of humor is certainly showcased in this amusing little trifle. PS: All those men who voted Jennifer Aniston the sexiest woman ever have obviously never laid eyes on Anna Karina, a woman who exudes sex with every look, word and gesture.
(de) wrote: The 32 years later sequel for "Scenes From a Marriage" is a pretty good swansong for Ingmar, now I just need to find the full TV version which is twice as long as the theatrical release.
(mx) wrote: Great film. I am reliably informed Martin Landau does Bela Lugosi better than Lugosi did. Certainly triggered some nostalgia, not just for the (mythical) golden age of America but also when Tim Burton could make great films with care and without extravagance. Burton's more recent Frankenweenie, though, is a lovely look at the same era.
(de) wrote: I got this movie when somebody handed me their digital copy ultraviolet code for it, and it was a very pleasant surprise. Reedus as Frank Castle was a treat as well. It really has an "Iron Man 3.5" feel to it. As with the DC universe, I seem to find Marvel's animated features equally or more enjoyable than their live-action MCU counterparts.