One of cinema's greatest ever sequels

Rating: 9/10 (29 August 2017)

The biggest obstacle faced by a studio looking to cash-in on a surprise success that resonated well with both audiences and critics is the direction in which to take it. The seemingly obvious call would be to study the original and pick apart the ingredients which helped form, in the case of Alien, an instant science-fiction classic. While the sequel faced trouble getting the greenlight as Fox procrastinated over a project they felt was a costly risk, this delay in production was only leading to the sequel rights falling into the hands of the perfect guy for the job. Production on The Terminator was facing a lengthy delay due to scheduling conflicts, so director James Cameron found himself some spare time to pen a script. Only this wasn't to be called Alien 2, but Aliens, as Cameron sought to embrace the scope and ambition he would later become famous for.
While Alien features gruff space truckers, Aliens is led by a band of buzz-cut space marines, and Cameron's idea was not to continue with the slow-burn, show-little approach of the original, but a relentless assault on the senses. It's certainly isn't that Cameron doesn't know how to generate tension (the slow beeping of the motion tracker and the moment trapped inside a room with a face-hugger is clear evidence that he does), but he has a different method of pay- off. A long build-up following by a genuinely terrifying jump-scare made you hold your breath in Alien, but when the indecipherable blobs turn into a huge hoard of the remorseless, slimy killing machine, it's difficult to catch it. It's incredibly long, with a climax that seems to go on forever. But Aliens truly puts you through the wringer, to the point that, by the end, you loathe the xenomorph just as much as Ripley (Sigourney Weaver).
After spending 57 years in stasis, Ripley is picked up and rescued by her employers the Weyland-Yutani Corporation, the very company that sent the crew of the Nostromo to their doom. Her wild claims of a perfect alien hunter are dismissed, mainly because the planet it was originally discovered on was colonised years ago, and her flight officer license is revoked. When communication with the colony is inevitably lost, shifty company representative Carter Burke (Paul Reiser) convinces Ripley to join an expedition back to the alien planet to investigate and exterminate any alien lifeforms discovered. She reluctantly agrees, and finds herself on a mission accompanied by a rag-tag squad of marines, who all seem trigger- happy but incredibly naive about the dangers they will face. When they arrive, the only survivor is a little girl named Newt (Carrie Henn), who speaks of monsters who mostly come out at night... mostly.
Sigourney Weaver is so terrific in this film that she received Academy Award nomination for Best Actress, something almost unheard of in the sci-fi/horror genre. Having learned that her daughter had died of old age just two years before she was rescued, her relationship with Newt and her eventual showdown with the alien queen is given a whole new layer. She is backed up by a supporting cast who help distinguish themselves in the platoon of grunts, with special mention going to Michael Biehn, Jenette Goldstein and, of course, the late Bill Paxton. They help elevate the film from an exciting sea of bullets and spattered alien carcasses to an engrossing thriller featuring characters you genuinely hope will make it out alive. Of course, they all don't, but Cameron makes almost every death memorable and occasionally oddly powerful. I still prefer the quiet horror of Alien, but I can completely understand why many prefer the deafening terror of Cameron's vision, but it can quite rightly take its place among cinema's greatest ever sequels.