|Q: Are we not men?|
I'm not going to spell it out explicitly, but if you're one of those people who refuses to watch trailers, from here to the post's conclusion there is a potential for spoilers.
I'm with Matt Zoller Seitz, who says of the Alien franchise, "The series’ repetitive structure is a feature, not a bug, as in the James Bond, 'Star Wars' and Marvel franchises. If you don’t like them, you can complain that they recycle the same images and situations. But if you like them, you can compare them to sonatas or sonnets or three-chord pop songs, where part of the fun lies in seeing what variations the artists can bring while satisfying a rigid structure." With that in mind, MZS and I both think Scott's late-in-life return to the franchise has yielded some of the most thought-provoking results in its history.
In Covenant, Scott adheres religiously to the template, right up until the conclusion. Enough foreshadowing occurs that I was not surprised by the finish, but I was surprised Scott chose the conclusion he did. Leaving the theatre, I said to my friend, "Scott broke the ending." And when I considered it further, I realized he also "broke" the ending to Prometheus -- and in so doing he added emotional and spiritual weight to the earlier narrative of Ripley as Christ figure.
That is the deeper surprise, for me -- Scott has not always struck me as being well-attuned to his own themes, never mind those of others. But AC demonstrates he has in fact paid close attention to the thematic through-line that Aliens 1, 3 and 4 developed and exploited before Scott returned to "his" franchise. His latest chapter adds nuance and emotional value to those earlier movies, two of which were made by other people.
Getting back to my ranking, generally this is a series that defies the attempt, as each movie contributes to the others. By placing 2 at the bottom tier, I'm not calling it out as inferior -- it is arguably a more streamlined entertainment than, say, 4. But Cameron's movie is an action flick, while the others are horror movies. In order to work, horror requires moral ambiguity, while action movies do not. And even if Cameron wanted to explore moral ambiguity I'm not sure he has the capacity for it (unlike, say, his ex-girlfriend Katheryn Bigelow).
In any case, good and evil are clearly demarcated in Aliens. And, given how xenomorph designer H.R. Giger was either shown the door or willingly absented himself from the scene, the overall aesthetic to Aliens dates the movie directly to its particular era in ways the other movies managed to avoid.
|1986: only 119 more years to go!|