Checking off another gigantic gap in my horror journey, James Cameron’s Aliens is everything a sequel should be. 

Aliens’ visual contrast juxtaposed against Ridley Scott’s Alien (1979), especially as it pertains to those epic, grand-scale, outer-space set pieces is an insanely tasteful compliment. I’d always heard Cameron had authored a distinct sci-fi style to his sequel while paying homage to HR Giger’s work, and that anecdote held up & then some. There’s a sense of glossy tech for the times being applied on top of Scott’s grittier, dirtier original design that feels connected to its source universe, but manages to shine on its own. In hindsight, Aliens might be the biggest turning point in Cameron’s directorial career, taking him from respected sci-fi horror and effects wunderkind, and moving him closer to American film’s most commercially successful director in history. 

Ellen Ripley as the clear, main protagonist is an excellent move in regard to expanding Alien lore. Through an amazing second entry into franchise canon, we get to see an even more fleshed out character study which not only holds up to the first, but possibly exceeds it from a storytelling perspective. A 1987 Best Actress nomination was completely justified, and easily could be the biggest feather in Weaver’s cap. 

R rated James Cameron’s sci-fi horror is just… where it’s at. Jesus. Adding this many Xenomorphs on screen could’ve backfired easily if not for Stan Winston’s careful work as effects supervisor. Our Aliens look bigger, our explosions more substantial, and our threat looms larger, especially with the overwhelming introduction of both a stranded child and a Queen B Xeno. Riveting stuff!

Letterboxd’s Top 250 Horror Films expanding my film palate yet again. And I’m so happy Jonesy the cat made it out of a 57 year cryo-sleep. Phew. 
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