🎦 Alien full movie HD download (Ridley Scott) - Thriller, Sci-Fi, Horror. 🎬
Thriller, Sci-Fi, Horror
IMDB rating:
Ridley Scott
Tom Skerritt as Dallas
Sigourney Weaver as Ellen Ripley
John Hurt as Kane
Ian Holm as Ash
Yaphet Kotto as Parker
Bolaji Badejo as Alien
Storyline: A commercial crew aboard the deep space towing vessel, Nostromo is on its way home when they pick an SOS warning from a distant planet. What they don't know is that the SOS warning is not like any other ordinary warning call. Picking up the signal, the crew realize that they are not alone on the spaceship when a alien stowaway is on the cargo ship.
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Thirty-two years on, and still exceptional.
In the crowded gallery of horror films, Alien hangs in a prominent position, high above its rivals. By virtue of its deft blend of psychology and physical horror, it lifts the genre out of the graveyard and into deepest space . While its scale models, grimy characters, and shimmering soundtrack may no longer appeal to a generation of audiences who revel in the hotchpotch storyboards of 'Drag Me To Hell', Alien still commands great respect, and rightly so. It has not lost any of its cutting edge, even after thirty-two years.

Alien's simplistic premise keeps the film tight and lean; a taut, slow-burning game of cat and mouse involving a vicious, shadowy creature whose acidic blood can melt the very girders of the ship it has invaded, and a compelling blend of the brave (Ripley), cautious (Dallas), and mechanical (Ash). There are no meaningless references to childhood memories or superfluous romance. The characters and their personalities are weathered, believable, and their mission plausible. The profit-driven search for mineral ore provides a realistic corporate counterpoint to the main story, which sees the seven crew members dragged, somewhat unwillingly, into the extraterrestrial's world. With the possible exception of Ash, they did not seek this encounter; the computers lead them to it. How each crew member responds to the situation is key; in effect, seven sub plots form, each focusing upon something different, be it a crew member's mannerisms, their way of thinking, or indeed, a violent death (Chestburster). This is Alien's greatest appeal; it provides an insight into the human mind, as psychological horror movies should. Which crew member do we, the audience, root for, admire, or resent? Who can trust who?

Sigourney Weaver, so often credited with inspiring a roll-call of female cinematic heroines, rightly earns every syllable of praise that has been heaped upon her since the film's release; Ripley's resourcefulness and courage are marvellous to behold. However, as the genuinely disturbing android Ash, Ian Holm is supreme; his reserved demeanour and considered approach masking the motives that lay hidden out of sight.

As an exercise in sound and vision, Alien is a memorable spectacle. There are many moments that are striking. The colossal hauler Nostromo, futuristic and industrial in design, dominates the screen as it crawls slowly, almost gracefully, towards Earth. The sheen of the soundtrack and the echoing calls from the freighter to 'Antarctica Traffic Control' are atmospheric to the core, while the fogbound alien planet, littered with blackened mountains and the silhouette of the hulking, derelict vessel, is hauntingly desolate. Spaces where, in modern horror films, the gaps would be filled with meaningless dialogue, are left vacant. The viewer can interpret what they see with no need for speech. Ridley Scott's vision of 'horror first, science-fiction second' was, without a doubt, fulfilled; audiences should ignore the flashing lights and controls of the spaceship and focus upon the Alien. Around which corner does it lurk? Who becomes its next victim?

Alien is a film of immense quality. It has the capacity to frighten and to deceive. It flows precisely from scene to scene with no wasted shots and most tellingly, does not stray off course by incorporating fanciful special effects or worthless roles filled by fringe characters. One spacecraft, one extraterrestrial, seven humans, and one cat is all we are given. And quite simply, anything more would have been a waste. While the genre of horror may have moved on, the art of horror is captured perfectly, here, in the blackness of space.
Proof that Ridley Scott once made great movies. My favourite horror film.
With the exceptions of Gladiator and the Martian, Ridley Scott hasn't made a good film in far too long. I would never call myself a fan of Blade Runner, but Alien shows Ridley Scott as his finest.

The claustrophobic, psycho-sexual tension masterpiece that is Alien is a classic of Sci-Fi. It sparked a franchise including three sequels, two cross overs, and a prequel. It is in dozens of top 100 sci fi movies lists, and was listed as Empire's 33rd greatest movie of all time. Does the highest rated horror movie on IMDb deserve its praise?

Short answer: yes. Alien does have a handful of short-comings, such as some implausibilities including technology (the worst self destruct system of all time). These count for nearly naught. You won't be terrified by this movie, but it doesn't deny that this gripping film remains to be the perfect sci fi-horror film. While some good sci-fi horror films exist, such as Predator, The Thing and Invasion of the Body Snatchers, none have been able to replicate this movie's atmosphere and tension. Whether its the infamous Chestburster sequence, Dallas' death in the vents, or Lambert's off screen violation, there is no doubt that this psycho-sexual, claustrophobic, star wars turned R horror movie will be remembered by myself as Ridley Scott's greatest contribution to mankind. Score: 9/10 - enthralling
Exemplary horror (spoilers)
What makes Alien such an effective horror film is how quiet it is. After all, most horror films make the mistake of equating fear with noise. But that's often a mistake, as silence is usually infinitely more effective. And so it is with Alien. The scariest moments are all devoid of intrusive scoring, jagged editing and overblown sound effects. Instead most of the sound and music is pulled out and shots are held for a long time.

One of the best examples is when Brett is killed. He has to chase after a cat and he's led into a dark corner of the ship. You know he's going to get killed but Ridley Scott knows that you know. Therefore the sequence is dragged out. All the time you're waiting. You're waiting for the inevitable. But Scott doesn't rush things. He racks up the tension by having Brett wander for an inordinate length of time and by having him wash his face in a shower of dripping water as chains rattle in the background. And when the Alien does appear, it's not with a sudden jolt. It just appears quietly behind Brett before killing him. And the way that the death is played on the face of the cat, which has a look of almost stunned curiosity, makes the whole sequence rather spooky. It's not really a crash, bang, wallop sort of horror film.

Not that there aren't plenty of jump moments. There are actually quite a few. But because the lead-up is so quiet and ominous it makes the pay-off a whole more effective. For example, when Kane looks into the egg. Again the sequence takes its time, but when he finally has a peek and the facehugger leaps out, it has the perfect timing of a great joke.

Another fantastic piece of timing is when the Alien takes Dallas. You go through another long, drawn out sequence of him scurrying through narrow air vents before the Alien finally pops out of a dark corner. But although the moment is fantastically timed, the lead up is where the fun lies. Although I do have to say that the lead up is probably the most frightening thing in the film. Dallas scurries through narrow corridors trying to take the Alien out, but you know it's futile. And the dark, claustrophobic corridors are full of iris-shaped doors that open and close slowly and forebodingly, which really does add to the air of dread that fills the sequence. And the tracker is the icing on the cake – it racks up the tension to an even greater extent.

The second most frightening sequence is when Ripley is finally alone in the ship. She sets the Nostromo to self-destruct so that she can take the shuttle but then with strobe lights flashing she sees the Alien. She then goes back and tries to reverse the self-destruct sequence, but it's too late. It's frightening because Ripley has to run around the ship, not knowing where the Alien might be. No longer does she have the option of just hiding. And with everyone dead she no longer has anyone to talk to or help her out. She's all alone. But perversely, once everyone's dead, the film finally gets loud. There's a countdown sequence (which is brilliant in the way that it adds tension) and the ship begins to destruct. Just when Ripley might have needed the silence to find out where the Alien is, she has to run around in cacophony of noise knowing that the Alien could be anywhere.

But the silence comes back in the final sequence, and it's quite ingenious the way that the Alien is camouflaged in the shuttle. I nearly messed myself when I first saw it as a kid.

What I also like about the final sequence is that it's weirdly sexual. Ripley strips down to her underwear and then the Alien appears. And the Alien then begins almost stroking the console it's resting on. And of course, Ripley penetrates the Alien a harpoon. Nice.

Another excellent bit of weird sexuality is when Ash the robot tries to choke Ripley with a magazine. He shoves it her mouth and he looks rather turned on as she gags on it. Perhaps robots don't come with all the parts. Perhaps this is his way of venting his frustration. But there's also the way that the Alien kills Lambert. Its tail inches up the insides of her thigh and then you cut away and hear her screaming like she's being violated – the screaming is actually pretty damn chilling. And of course, Kane getting ripped open goes back to the male fear of childbirth. (The birth scene is still great. The blood, the sound and the way it takes the Alien two or three attempts to burst through is fantastic. But I do have to say that the way the Alien shoots off the table looks rather dodgy.)

Going back to the Lambert killing, though… As well as being chilling, this scene is also quite frustrating because Parker (Yaphet Kotto) gets killed as well. I mean, Parker is just The Man. I swear he could have taken the Alien had it not been for the cowardly Lambert. (It's quite surprising that the coward and the black character survive so long – they're usually the first two to go.)

But although I dig Parker, I think Ian Holm as Ash delivers the best performance. It's quite subtle the way that he hints at his true identity – I like the way he jogs on the spot to get his joints working. And he's so smug and slimy. He's more of a villain than the Alien.

But I think everything in the film is fantastic – the music, the special effects, the sequence on the alien planet, the production design, the moody atmosphere, the script… I just wish I had more room to waffle.
Hey guys I found a good movie
This suspenseful, spine-tingling movie keeps you on the edge of your seat right up to the time it's finished. When you watch this one, you feel like a good friend (by good I mean shrewd in picking movies) has brought it to your house to have a great movie night. In other words, it seems like director had seen it several times before he made it. He is that friend of yours by the way. A huge spacecraft has finished its mission and is heading back to Earth. We the crew members get up from their sleeping pods, they realize the spaceship is out of its course. Apparently it has received a signal from another planet, indicating some alien life form and set off to accomplish it secondary mission: investigating life in space. The extra- terrestrial life they find is by no mean friendly and brings horror into the ship.

It's more of a horror film than a science fiction one. I am sure you have seen those horror films in which some people are stuck in a hut in jungle and there is some nasty creature lurking to hunt them one by one. Well, now make the hut full of small rooms and send it to space. This, has provided director with a lot of close-ups which sends a shiver to your spine. It keeps you guessing when something is going to jump into the frame from an angle and kill people on board. But the brilliance of the movie is in what it doesn't show. By this, I mean unlike other horror movies you don't see people running around, crying or screaming ( not that much anyway). Also, when the astronauts find the organism, they do not celebrate nor freak out. They act vary nonchalant like they come across these things all the time. And this, has saved a lot of time and helped the director and audience focus on the story.

A lot of unnecessary scenes have been cut out. And there's your good friend Ridely, selflessly sparing you from all the fake screams and tears. At times you guess you are going to see some sentimental crying or other reactions, but it never happens. Well, crew members are scientists and not some clueless teenagers. Sometimes in comedies, actors act normally in funny situations which makes it even funnier. This technique has been applied here and if you ask me it has worked like a dream; a scary one too.

Right at the beginning of the movie, the camera is roaming in the spacecraft which seems horrifyingly deserted. While we are curious to see some people or aliens, we reach a room in which astronauts are sleeping in their pods. And when the camera approaches the room, the automatic door goes up. This, throws the audience right to the spaceship. There is another scene in which the senior commander, frustrated to find a way to kill the monster, tries to get some answer form the computer brain of the craft called Mother( discover the irony yourself). He keeps asking about the creature but the computer has insufficient knowledge. Then with all his hope gone he types: 'What are my chances?'
SFX and good old duck tape
Probably the best Sci-Fi film of the 20th century revolutionizing the genre with a whole array of SFX and good old duck tape.

This movie is a favorite among the cinema community, using Ridley Scotts style of suspense and mystery gives the viewer a 117 minute ride with no stops along the way.

At the beginning there is build up but its worth every second, there are continuity errors and such but what do you expect from the 1970's.

Sigourney Weaver was a great choice at a strong female role which wasn't seen allot in movies back then which later sparked a trend.

Overall this move was a masterpiece of its day and still is so for most of the reasons above and more I gave this movie a 8.2/10
Iconographic Horror
ALIEN received mixed reviews when it debuted in 1979--largely from science fiction critics, who accused it of being little more than a sort of Friday the 13th in Outer Space, a blood-and-gore horror flick given a futuristic twist via special effects. But while these accusations have more than a little truth, it has been an incredibly influential film--and even today, in the wake of CGI effects, it still holds up extremely, extremely well.

The story is well known: the crew of an interstellar craft responds to what seems a distress signal, only to encounter a remarkably lethal alien life form that boards their ship and sets about picking them off one by one. Some of the special effects are weak (the alien spacecraft and the android "revival" are fairly notorious). There is little in the way of character development, the film has a fairly slow pace, and the story itself is predictable; you can usually guess who is going to die next.

BUT. The art designs are incredible: the entire look of the film, from the commercial nature of the spacecraft to the iconographic alien itself (brilliantly envisioned by Giger) is right on the money. Director Ridley Scott encouraged his cast to ad lib from the script, and the result is a shocking sense of realism--and the somewhat slow pace of the film and the predictability of the story gives it a sense of relentless and ever-mounting paranoia that is greatly enhanced by the tight sets and camera set-ups. With its odd mixture of womb-like organics and cold mechanics, ALIEN is a film calculated to send even the most slightly claustrophobic viewer into a fit of hysteria.

The entire cast, led by Tom Skerrit and Sigorney Weaver, is very, very good--and the film abounds with memorable images and scenes ranging from John Hurt's encounter with the alien egg to Skerrit's search of the ship air ducts to Weaver's terrifying race against time as the ship counts down to self-destruct. Seldom has any film been so consistent in design, cast, direction, and out-and-out fear factor, and although certain aspects of ALIEN are open to legitimate criticism the end result is powerful enough to bring it in at a full five stars. A word of warning, however: you'll need to send the kids to bed for this one. And you'll probably be up half the night afterward yourself! Recommended.

Gary F. Taylor, aka GFT, Amazon Reviewer
A bit overrated
Although this movie was probably very good when it came out in 1979, while now watching it in 2009. The movie just seemed too dated, and I don't mean with the special effects, cinematography or anything like that. It's just that this film just didn't add any surprises, even when the audience comes across a certain twist it doesn't add anything to the movie that will add any shock value, the film just felt a bit dull and sort of boring. I can see how this movie would have impressed a lot of people who first viewed it when it came out. But watching a movie that came out when I wasn't even born, it just fell short of my expectation. This film is far from being a bad movie, it was actually good but I just felt that it was a bit overrated. The title of the movie is "Alien", but the audience don't even get to see the alien all that much, well besides that there is little to no tension and most of the scenes are just a group of truckers in space that decides to go investigating in till they come across a unpleasant discovery and investigate some more, but none of it was intense or gripping. Although there are very few scenes of the actual alien, I get the feeling that they went that direction to add more fright, but didn't really work for me. A lot of the scenes were about the crew trying to find out what the alien is capable of. The movie also goes in a direction where you just don't care for the crew that is trying to survive. It was probably a phenomenal movie of it's time and did a lot for the sci-fi horror genre, but I ain't going to jump on the bandwagon and say this movie is the best in the genre.

Deep in space, the commercial vessel the Nostromo receives an emergency distress signal from an unexplored planet. After having arrived and conducted a search for survivors the crew returns home only to discover in the most terrifying of ways that a deadly and seemingly invincible bio-form has joined them, and is slowly hunting them one by one.

Terrifyingly claustrophobic is a brilliant way to describe this movie. The tension escalates as the movie plays its course. The pacing is brilliant from master filmmaker Ridley Scott. Sigourney Weaver in her most iconic role does a brilliant job portraying Ripley. The feeling of being closed off, the feeling of the Nostromo being a giant claustrophobic maze in which the viewer desperately wishes to escape make this one of the greatest and most terrifying films of its generation. With shocking surprises and twists throughout including the iconic dinner scene that still to this day can be shocking for a first time viewer. The score of the fim only adds to the tension and seemingly silent but deadly tension that continues to mount as the film plays on, only at its conclusion does the viewer finally feel as though they may take a deep breath. Spawning 3 sequels, 2 cross over films, and a loosely tied prequel, Alien has proved to not only resonate these many years later but maintain its popularity within the mytho's of classic American cinema.
Innovative Sci-Fi Thriller Reintroduces Realism to the Genre
While there is a general resemblance to the classic pulp sci fi film, "It! The Terror from Beyond Space", Alien is an expertly crafted and thoroughly original film. In my opinion, it is also vastly superior to all of its descendants, including James Cameron's action and special effects smorgasbord, Aliens.

As a teenager, I was so intrigued by the premise of this movie that I was one of the few people in the United States who went out and purchased Alan Dean Foster's book "Alien" and read it before the film was released. The book was actually very good, so I knew I was either in for a big treat or a total disappointment when I went to see Ridley Scott's Alien on opening night. Of course, there was no disappointment.

Scott assembled a great cast, none of whom (at the time) had a great deal of face recognition except, perhaps, Ian Holm. He placed his characters in stasis aboard a long distance freight ship ("the Nostromo") owned and operated by a mining company. The ship is grimy, a little broken down, and a bit cramped. The habitat module is one very small portion of this enormous commercial barge.

The film uses sound beautifully. Both the amazingly haunting and memorable postmodern soundtrack and excellent soundscape are flawless. The film opens with the ship's computer beginning to power on the ship's systems, and even though the scene consists of nothing but sound effects and mostly immobile hardware, it is permanently burned into my memory.

The crew is awakened, and unlike most sci fi films, almost immediately begins complaining about being brought out of stasis early and bickering about how much they should be paid for what appears to be an extra duty. Soon, we learn that a communication signal has been picked up on a planet nearby and the Nostromo's shuttle must descend to the planet and investigate.

All of this is established effortlessly by Scott's fantastic directing, cinematography and editing, but rather than spoiling any aspect of this brilliantly plotted and presented story, I will discontinue my plot summary here and move on to the critique.

Ridley Scott has directed two of the best science fiction films of all time - Bladerunner and Alien. These two films are completely different and also radically innovative for the sci fi genre. Alien reintroduces realism the the genre. The crew is not a bunch of heroic freedom fighters or righteous warriors. Instead, they are corporate staff members and a couple of administrators - a captain (Skerrit) and first officer (Weaver) who are the company management representatives, mechanics, a science officer/ship's surgeon, a navigator, and geologists (it's a mining company). The ship itself is not a sterile faster-than-light Maserati in space, but a gritty, messy, cramped, barge. And the alien is TRULY ALIEN. 'nuff said about him.

H.R. Giger's organic/cybernetic art enhances the other-worldliness of all of the scenes that take place off of the Nostromo, and of course, the design of the alien itself. An enormous contribution that should not be overlooked.

It doesn't really matter which version of this film you see. They are all terrific. The director's cut adds a couple of scenes which appeared in the book, but were left out of the original release. Personally, I don't think these scenes really add much to the film, but it is a matter of personal taste, since all of the versions I have seen are 10s.

Recommended for anybody who can tolerate sci-fi.
scream all you like
A rebuke to Star Wars. This is horror the way Darth Vasder should have been in the hands of a real film maker instead of Lucas's indulgent fantasy about fluffy monsters. Those who don't know what its about the synopsis is an abandoned derelict space craft harbors eggs which have a life cycle similar to insects and John Hurt gets his most famous role. Dark tortured tense this also precedes Das Boot surprisingly with its mobile camera, the first use of steady cam, and tense claustrophobic darkly lit sets. Has received a minor backlash because it is so good and critics hate admitting this genre can produce classics. Watchit again and again and never be disappointed
📹 Alien full movie HD download 1979 - Tom Skerritt, Sigourney Weaver, Veronica Cartwright, Harry Dean Stanton, John Hurt, Ian Holm, Yaphet Kotto, Bolaji Badejo, Helen Horton - USA, UK. 📀