Alien" uses a tricky device to keep the alien fresh throughout the mov — Alien (franchise)

"Alien3 took a while to come to the screen, just as James Cameron’s Aliens had taken its time in development after Ridley Scott’s 1979 original. The key difference is that while the sequel took longer because different executives blew hot and cold on the idea of another film, Cameron’s success made the third film inevitable from the off. As well as being a commercial hit, Aliens was praised by critics and audiences alike, and even went on to bag two Oscar wins and several other nominations. That changed Fox’s tune, and Roger Birnbaum, then the studio’s head of worldwide distribution, would reportedly call the series, “The Franchise”, at a point where big viable sci-fi movie franchises didn’t come along nearly as often as they do nowadays."

"The Xenomorphs are memorable for a number of their traits-their raw power, adaptability, their quick development, their hive mind. As Ash put it, they are the "perfect organism," whose "structural perfection is only matched by its hostility." Likewise, we think that the Alien films are the "perfect" science fiction/horror series."

"Do men really require a science fiction scenario to understand how horrific unwanted violation of the body is? Maybe if our culture treated male-on-male rape like the horror it is, men wouldnt need to turn to science fiction movies to understand the problem. Even if some men require such a prompt for their empathy, the Alien franchise still isnt one that offers much in the way of true access to womens relationship with rape."

"As fans of the series know, "Alien 3" was the third installment in what would later round out as quartet of films about Ripley (Sigourney Weaver), the only crewmember to survive the infestation of the mining vessel Nostromo in Ridley Scotts inaugural 1979 sci-fi thriller "Alien." A key part of this series fascination lies in its malleability. In contrast to other franchises such as the James Bond films and the "Star Wars" series, the "Alien" films werent stylistically or thematically uniform. All they had in common were Ripley and the alien, or aliens, and certain images and motifs: eggs, acid, glistening teeth, scuttling tentacles and spindly legs, foggy corridors, desolate planetary landscapes, and battered commercial and military starships that had all the glamour of delivery vans or rusty refinery towers. Beyond that, each film in the series had a distinctive look and pace and rhythm. "Alien" was slow and moody, a true horror film in a nasty seventies vein. The second film in the series, writer-director James Camerons "Aliens," reconfigured the originals haunted-house-in-space vibe as an adventure film: part war movie, part Western, referencing everything from Apocalypse Now and Zulu to John Ford and Budd Boetticher. The fourth film, scripted by Joss Whedon and directed by Pierre Jeunet (Amelie [sic, actually Alien Resurrection]), is a hybrid of Frankenstein story, pirate adventure and disaster picture, starring a genetically reconstituted Ripley who has alien DNA and, it seems, superpowers."

"This is a series, it seems, all about Old Testament vengeance, and how humanity has failed to live up to its spiritual potential. We refused to be humble in the face pf the infinite cosmos, failing to grasp our own humility, hence, divine-ish beings from beyond are looking to settle the score."

"The Alien movies visualize the two things so many men look upon with disgust and horror—getting penetrated themselves, and watching a woman giving birth. In the Alien films, and very much in Alien: Covenant, moments of rape are always moments of impregnation. They provide a dual, intensified horror."