Alien Resurrection

Alien Resurrection
Theatrical release poster
Directed by	Jean-Pierre Jeunet
Written by	Joss Whedon
Based on	Characters by Dan O'Bannon Ronald Shusett
Produced by	Gordon Carroll David Giler Walter Hill Bill Badalato
Starring	Sigourney Weaver Winona Ryder Ron Perlman Dan Hedaya J. E. Freeman Brad Dourif Michael Wincott
Cinematography	Darius Khondji
Edited by	Hervé Schneid
Music by	John Frizzell
Production companies	20th Century Fox Brandywine Productions
Distributed by	20th Century Fox
Release date	November 26, 1997 (1997-11-26)
Running time	109 minutes[1]
Country	United States
Language	English
Budget	$70 million[2]
Box office	$161.4 million[3]

Alien Resurrection is a 1997 American science fiction horror film^[4] directed by Jean-Pierre Jeunet, written by Joss Whedon, and starring Sigourney Weaver and Winona Ryder. It is the fourth installment of the Alien franchise and was filmed at the 20th Century Fox studios in Los Angeles, California.

Set 200 years after the preceding installment Alien 3 (1992), Ellen Ripley is cloned and an Alien Queen is surgically removed from her body. The United Systems Military hopes to breed Aliens to study and research on the spaceship USM Auriga, using human hosts abducted and delivered to them by a group of mercenaries. The Aliens escape their enclosures, while Ripley and the mercenaries attempt to escape and destroy the Auriga before it reaches its destination: Earth. Additional roles are played by Ron Perlman, Dan Hedaya, J. E. Freeman, Brad Dourif, and Michael Wincott.

Alien Resurrection was released on November 26, 1997, by 20th Century Fox, and grossed $47.8 million in North America, the least successful of the Alien series on that continent. The film was well received internationally, however, with a gross of $113.6 million, bringing its total gross to $161.4 million.^[3] It was the 43rd-highest-grossing film in North America in 1997, eleven spots lower than Anastasia, another 20th Century Fox film.^[5] The film was nominated for six Saturn Awards (including Best Science Fiction Film, Best Actress for Weaver, Best Supporting Actress for Ryder, and Best Direction for Jeunet).

A sequel to Resurrection was planned as Joss Whedon had written an Earth-set script for Alien 5, though Sigourney Weaver was not interested in this setting, but has remained open to reprising her role as Ellen Ripley for a fifth installment on the condition that she likes the story.^[6] Although more sequels were planned to follow Resurrection, they were ultimately abandoned as the crossover series arrived with the 2004 film Alien vs. Predator, along with the prequel series including the 2012 film Prometheus directed by Ridley Scott, who stated that the film precedes the story of Alien, but is not directly connected to the original film's franchise, and that Prometheus explores its own mythology and ideas. The storylines of Resurrection have been continued in the comic series Aliens versus Predator versus The Terminator and books Aliens: Original Sin and Alien: Sea of Sorrows.

Plot[]

Two hundred years after the events of Alien 3, United Systems Military scientists on the space vessel USM Auriga create a clone of Ellen Ripley, designated Ripley 8, using DNA from blood samples taken before her death. The Xenomorph queen's DNA has been combined with Ripley's, so the clone grows up with an embryo inside it. The scientists extract the embryo, raise it, and collect its eggs while keeping Ripley 8 alive for further study. As a result of the Xenomorphs' DNA inside her, the clone has enhanced strength and reflexes, somewhat acidic blood, and a psychic link with the Xenomorphs. Additionally, the Xenomorph's genetic memory allows the clone to have some of Ripley's memories.

A group of mercenaries consisting of Elgyn, Johner, Christie, Vriess, Hillard, and Call arrives at Auriga on their ship Betty. They deliver several abducted humans in stasis. The military scientists use the humans as hosts for the aliens, raising several adult Xenomorphs for study.

The Betty crew soon encounters Ripley 8. Annalee Call recognizes her name and tries to kill her, suspecting that Ripley 8 may be used to create Xenomorphs, but the creatures have already been cloned. The now mature Xenomorphs, being aware of their blood's acidic properties from the aforementioned genetic memory, escape confinement by killing off one of their own to use its acidic blood to burn through their enclosures. They then capture Dr. Jonathan Gediman and kill a second scientist. They damage the Auriga and kill some of those people who failed to evacuate, including General Perez and Elgyn. Another crew member is captured and cocooned for eggmorphing. Military scientist Dr. Wren reveals that the ship's default command in an emergency is to return to Earth. Realizing that this will unleash the Xenomorphs on Earth, Ripley 8, the mercenaries, Wren, a Marine named Distephano, and surviving Xenomorph host Purvis, decide to head for the Betty and use it to destroy the Auriga. Along the way, Ripley 8 discovers a laboratory containing the grotesque results of the previous seven failed attempts to clone Ellen Ripley. The surviving one begs Ripley 8 to euthanise her; she complies and then incinerates the lab and its contents.

As the group makes their way through the damaged ship, they swim through a flooded kitchen. They are chased by two Xenomorphs. One is killed, while the other snatches Hillard. As they escape the kitchen, the Xenomorph returns and blinds Christie, who sacrifices himself to kill the Xenomorph, so the others can escape. After Wren betrays the group, Call is revealed to be an auton, an improved version of a human created by synthetics. Using her ability to interface with the Auriga's systems, Call sets it on a collision course with Earth, hoping to destroy the Xenomorphs in the crash. She cuts off Wren's escape route and directs the Xenomorphs towards him. Ripley 8 is captured by a Xenomorph, while the others head for the Betty. Wren, who is already aboard, shoots Purvis, takes Call hostage and demands that she abort the collision. An injured Purvis attacks Wren and forces Wren's head to his chest just as the Xenomorph embryo that he is carrying bursts through his ribcage, causing it to go through Wren's head too, killing them both. The survivors shoot and kill the juvenile Xenomorph.

Ripley is taken to the Alien nest, where she finds Gediman, still alive and partially cocooned. The Alien Queen, having developed a uterus as a result of her genetic contamination with Ripley 8, gives birth to a Xenomorph with overtly human traits. Unable to bond with the Queen, the hybrid Xenomorph recognizes Ripley 8 as its mother, so it kills the Alien Queen and Gediman. Ripley 8 takes advantage of the distraction to escape and makes her way to the Betty.

The Betty crew struggle to take off, which gives Ripley 8 enough time to reach the ship and jump on. While they further struggle, the hybrid boards, unbeknownst to the crew. The Betty can't take off because the computer says the hatch is still open, Call goes to close the hatch. When she attempts to close the hatch she runs into the hybrid, who closes the hatch while she runs and hides. Distephano goes to check on her and is killed by the hybrid. Ripley 8 goes to check on them and runs into the hybrid, she saves Call by distracting the hybrid. Using her acidic blood, Ripley 8 melts a hole in a window and pushes the hybrid towards it. The decompression violently blows the creature through the hole and out into space, killing it as Ripley 8 tearfully watches on.

The countdown on the Auriga continues as the survivors escape in the Betty. The Auriga collides with Earth, causing a large explosion. As they look down at Earth, Call asks what Ripley 8 wants to do next. "I don't know. I'm a stranger here myself," she replies.

Cast[]

Production[]

Origins[]

Impressed with his work as a screenwriter, 20th Century Fox hired Joss Whedon to write the film's script. Whedon's initial screenplay had a third act on Earth, with a final battle for Earth itself.^[8] Whedon wrote five versions of the final act, none of which ended up in the film.^[8]

The studio initially imagined that the film would center around a clone of the character Newt from Aliens, as the Ellen Ripley character had died at the end of Alien 3. Whedon composed a thirty-page treatment surrounding this idea before being informed that the studio, though impressed with his script, now intended to base the story on a clone of Ripley, whom they saw as the anchor of the series.^[9] Whedon had to rewrite the script in a way that would bring back the Ripley character, a task he found difficult. The idea of cloning was suggested by producers David Giler and Walter Hill, who opposed the production of Alien Resurrection, as they thought it would ruin the franchise.^[10]

Sigourney Weaver, who had played Ripley throughout the series, wanted to liberate the character in Alien 3 as she did not want Ripley to become "a figure of fun" who would continuously "wake up with monsters running around". The possibility of an Alien vs. Predator film was another reason for the character's death, as she thought the concept "sounded awful". However, Weaver was impressed with Whedon's script. She thought that the error during Ripley's cloning process would allow her to further explore the character, since Ripley becoming part-human and part-Alien would create uncertainty about where her loyalties lay. This was an interesting concept to Weaver, who thought the film brought back the spirit of Alien and Aliens.^[10] Weaver received a co-producer credit and was reportedly paid $11 million.^[7]

Direction and design[]

Trainspotting director Danny Boyle was the producers' first choice to direct the film. Boyle and his producer met with effects supervisors to discuss the film, but he was not interested in pursuing the project and went on to make A Life Less Ordinary instead. Peter Jackson was also approached, but declined as he could not get excited about an Alien film.^[11] In 1995, after the release of The Usual Suspects, 20th Century Fox approached Bryan Singer to direct.^[12] Jean-Pierre Jeunet was asked to direct, as the film's producers believed he had a unique visual style. Jeunet had just completed the script to Amélie and was surprised he was offered the job for Alien Resurrection, as he thought the franchise had finished with Alien 3 and believed that making a sequel was a bad idea.^[13] Jeunet, however, accepted the project with a budget of $70 million.^[2] He required an interpreter as he did not speak much English when filming began.^[14]

Jeunet hired French special effects supervisor Pitof and cinematographer Darius Khondji, both of whom he had worked with on The City of Lost Children. Nigel Phelps was chosen for production designer, having made a name for himself designing Gotham City in Batman and Mega-City One in Judge Dredd. Jeunet and his crew watched the latest science fiction and Alien films as reference material, and obtained production reports from the Alien films to study the camera setups. Jeunet was given creative control, contributing several elements to the script including five different endings, although the expensive ones were dismissed. He also opted to make the film a dark comedy and was encouraged to include more violence. In June 1996, Jeunet's frequent co-director, conceptual artist Marc Caro had drawn rough sketches of characters' costumes, which were shown to veteran costume designer Bob Ringwood. Ringwood made several modifications for the final design.^[13]

Creatures[]

The original design of the human/Alien hybrid included a mix of female and male sex organs, which were removed during post-production

Special effects company Amalgamated Dynamics Incorporated (ADI) was hired for the film, having previously worked on Alien 3. ADI founders Tom Woodruff Jr. and Alec Gillis also had experience working with Stan Winston on Aliens. ADI based their designs and modifications of the Alien creatures on the film's script, which included the creatures having pointed tails for swimming, making their head domes and chins more pointed, and establishing them to appear more vicious using techniques of camera angles and shot duration. After receiving the director's approval, ADI began to create small sculptures, sketches, paintings, and life-size models.^[15] Referring to the use of animatronics in the film, Twentieth Century Fox executive Tom Rothman stated, "Most movies would be tempted to do the Newborn digitally ... [but] it looks so much more real when you [use] animatronics".^[16]

Jeunet asked ADI to lean towards making the human/Alien hybrid creature more human than Alien. An early concept was to replicate Sigourney Weaver's features, although the crew felt this design would be too similar to the design of the creature Sil from the 1995 film Species. Eyes and a nose were added to the hybrid to allow it to have more expressions and communicate more emotion than the xenomorphs, so that it would have more depth as a character rather than being "just a killing machine".^[15] Jeunet was adamant about the hybrid having genitalia which resembled a mix of male and female sexes. 20th Century Fox was uncomfortable with this, however, and Jeunet eventually changed his mind, feeling that "even for a Frenchman, it's too much".^[15] The genitalia were removed during post-production using digital effects techniques. The animatronic hybrid required nine puppeteers and was the most complex animatronic in the film.^[15]

Filming[]

Alien Resurrection was filmed at Fox studios in Los Angeles, California, from October 1996 to February 1997. Jeunet had difficulty securing studio space, as the filming of Hollywood blockbusters such as Titanic, Starship Troopers, and The Lost World: Jurassic Park were taking place at the same time. Alien Resurrection was the first installment in the Alien series to be filmed outside England, a decision made by Weaver, who believed that the previous films' travel schedules exhausted the crew.^[13]

The underwater scene was the first to be shot, and for its filming Stage 16 at Fox Studios was reconstructed into a 36-by-45-meter tank, 4.5 meters deep, containing 548,000 gallons of water.^[7] The decision was made to convert the stage rather than film the scene elsewhere, since moving the film crew to the nearest adequate facility in San Diego would have been too costly for a single scene, and by converting Stage 16 20th Century Fox would be able to use the tank for future films. Because of the aquatic filming, the ability to swim was a prerequisite for cast and crew when signing onto the film. The cast trained in swimming pools in Los Angeles with professional divers to learn how to use the equipment. An additional two-and-a-half weeks of training took place at the studio with stunt coordinator Ernie Orsatti and underwater cinematographer Peter Romano. Weaver, however, was unable to participate in most of the training due to commitments on Broadway. Winona Ryder faced a challenge with the scene, as she had nearly drowned at age 12 and had not been in the water since. She suggested using a body double, but knew that it would be too obvious to audiences due to the difference in hair length. She filmed the scene, but suffered from anxiety on the first day of filming.^[17]

Director Jeunet wanted to display Ripley's new powers, including a scene in which Ripley throws a basketball through a hoop while facing the opposite direction. Weaver trained for ten days and averaged one out of six baskets, although the distance required for filming was farther than she had practiced. Jeunet was concerned about the time being spent on the shot and wanted to either use a machine to throw the ball or to insert it later using computer-generated imagery (CGI). Weaver, however, was determined to make the shot authentic, and insisted on doing it herself. The shot required many dozens of takes, during which none of the balls went in. The crew were going to give up, but gave Weaver one last shot, and in this take, she got the ball in perfectly (the idea that she did it in one take is a myth). The ball was out of frame for a moment during the shot, and Pitof offered to edit it so that the ball was on-screen for the entire scene, but Weaver refused. Ron Perlman broke character when she made the basket, and turned to the camera to say "Oh my god!" There was enough of a pause between Weaver's basket and Perlman's statement for the film's editors to cut the scene accordingly during post-production.^[18]

Visual effects and miniatures[]

The film's script was laid out similar to a comic book, with pictures on the left and dialog and descriptions on the right. Jeunet planned every shot, which made it easier for visual effects artists to do their work. Blue Sky Studios was hired to create the first CGI Aliens to appear on film. Impressed with the company's work on Joe's Apartment creating CGI cockroaches, Jeunet and Pitof opted to hire the company to create 30 to 40 shots of CGI Aliens. The decision was made to use CGI Aliens rather than puppets or suited actors whenever the creatures' legs were in frame, as Jeunet felt that a man in a suit is easy to distinguish when the full body is seen.^[19]

All of the spaceships in the film were miniatures, as visual effects supervisors believed CGI was not effective enough to create realistic spaceships. The USM Auriga was originally designed by artist Nigel Phelps and resembled a medical instrument. This design proved to be too vertical for the film's opening shot, in which the camera pans out to show the ship, and did not appear satisfactory in the film's 2.35:1 aspect ratio. Three days before the design had to be finalized, Jeunet rejected it. Phelps, production illustrator Jim Martin, and concept artist Sylvain Despretz were tasked to redesign the ship. Jeunet felt Martin's design was too much like a space station, while he accepted Despretz's design due to its streamlined and horizontal appearance.^[20]

Music[]

Composer John Frizzell was encouraged by a friend to audition to compose Alien Resurrection's film score. Frizzell sent in four cassettes and received a call from 20th Century Fox about the fourth, which contained music from The Empty Mirror. Impressed with his work, Fox representative Robert Kraft had a short meeting with Frizzell and hired him.^[21] Frizzell spent seven months writing and recording the score, which Jeunet requested to be very different and unique from the previous films in the series. This included themes of romance and eroticism, incorporating sound effects such as a gong and rub rod. The cue "They Swim" took one month to complete as Jeunet was not pleased with Frizzell's original version, although the final result was a mix between the first and third versions he had composed.^[21] "I'm Popeye the Sailor Man", Popeye's theme song, written by Sammy Lerner, is whistled by Dom Vriess and is credited in the credits.

Release[]

Home media[]

Alien Resurrection was first released onto home-video in the VHS, LaserDisc and DVD formats on June 2, 1998. The film received its first Blu-ray release as part of the Alien Anthology box set released in 2010 including all four films and their alternate versions. The film was re-released on Blu-ray on May 10, 2011, in a stand-alone feature.

Special editions[]

In 2003, Jeunet included an alternate version of the film on the Alien Quadrilogy DVD box set with different opening and closing scenes, which were originally cut due to budget restrictions. The deleted scenes included references to the character Newt from Aliens, Vriess making a joke to Call, Ripley's clone waking up in the middle of her operation, an extended conversation in the mess hall that reveals the eventual fate of Ripley's former employers, Weyland–Yutani, an extended dialogue between Call and Ripley's clone in the chapel and scenes of the Betty landing on Earth and the planet's landscape during the final dialogue between Ripley and Call, as they view the ruins of Paris. The special edition restores 13 minutes and 5 seconds' worth of footage (including the new opening and ending), and is 7 minutes longer than the theatrical version.^[22][23][24] Jeunet has stated that the special edition is not a director's cut as his preferred version is the theatrical cut.^[25] Alien Quadrilogy contains a documentary called One Step Beyond: The Making of Alien Resurrection, featuring over two hours of footage relating to pre-production, production, post-production, screen tests, concept art, and audio commentary by the cast and crew. Alien Resurrection – Collector's Edition, which also includes One Step Beyond: The Making of Alien Resurrection, was released on January 6, 2004.^[26]

Reception[]

Box office[]

A pre-screening of Alien Resurrection was held in Camarillo, California, and the film was released in North America on November 26, 1997.^[27] Debuting at number two at the box office behind Flubber, Alien Resurrection grossed $25 million in its first five days—$16 million over the weekend, for an average of $6,821 per 2,415 theaters. The film grossed $47.8 million in North America, the least successful of the Alien series on that continent. It was well received internationally, however, with a gross of $113.6 million, bringing its total gross to $161.4 million.^[28] It was the 43rd-highest-grossing film in North America in 1997.^[5]

Critical response[]

Weaver's performance as Ripley was widely praised by critics.

As of September 2020, 54% of the 81 reviews compiled by Rotten Tomatoes are positive, and have an average rating of 5.73 out of 10. The website's critical consensus reads, "Alien Resurrection marks a slight improvement over its predecessor, but still lacks the emotional stakes that helped make the franchise's first two entries sci-fi/horror classics."^[29] Metacritic assigned the film a score of 63 out of 100, based on 21 reviews, indicating "generally favorable reviews".^[30] Audiences polled by CinemaScore gave the film an average grade of "B−" on an A+ to F scale.^[31]

Lisa Schwarzbaum from Entertainment Weekly gave the film "B+" and stated "By rocketing ahead 200 years from the previous film and jiggering the story cleverly [...] to create a Ripley reconstructed through a mix of human and alien DNA, Alien Resurrection power-kicks the whole definition of the Horrifying Other into a fresh, deep, exhilaratingly thoughtful, millennium-sensitive direction."^[32] Radio Times' Alan Jones described the film as "tense, mordantly funny, very graphic and bloody", and praised Weaver in a four out of five stars review.^[33] Houston Chronicle editor Louis B. Parks said "The film is a marvel, a well-photographed feast of visual imagery",^[34] while Richard Schickel of Time wrote that it was "Less frightening, but as much fun as ever."^[35] The Washington Post contributor Desson Thomson felt it "satisfactorily recycles the great surprises that made the first movie so powerful. And most significantly, it makes a big hoot of the whole business."^[36] Andrew Johnston commented in Time Out New York that "If Ripley, Call and the pirates had been developed further, the film might have been as involving as James Cameron's Aliens, the gold standard of the series. The film's techno-Gothic look is gorgeously immersive, however, and Jeunet turns in a number of original (and grotesque) effects sequences that are worth the price of admission."^[37] Salon′s Laura Miller noted "Weaver obviously relishes playing this feral, sarcastic new Ripley, and her pleasure is infectious."^[38] Rolling Stone critic Peter Travers' review was mostly positive, writing that the film "is sometimes glib and repetitive, but it stays worthy of its predecessors by staying close to its two battered heroines."^[39]

TV Guide magazine's Maitland McDonagh wrote in her mixed review: "The plot is more of the same old running and screaming, but Weaver is worth the price of admission all by herself, which is just as well in light of the less-than-fleshed out characters by whom she's surrounded."^[40] James Berardinelli also gave a mixed review at ReelViews by writing "If you consider Alien and Aliens to be the main course, then Alien Resurrection is leftovers."^[41] Jeffery Overstreet of Looking Closer rated the film "C+" and commented "What began as the most menacing movie monster of all has evolved into a whining oaf that looks its been dipped in a vat of Cream of Wheat."^[42] Janet Maslin from The New York Times reported "The filmmaker's ghoulishly fecund imagination makes this tale murky that even the screen's toughest woman warrior remains largely stuck in the mud."^[43] Roger Ebert of the Chicago Sun-Times gave the film a negative review, stating "There is not a single shot in the movie to fill one with wonder", later naming it one of the worst films of 1997.^[44]

Screenwriter Joss Whedon was unhappy with the final product. When asked in 2005 how the film differed from the script he had written, Whedon responded:

It wasn't a question of doing everything differently, although they changed the ending; it was mostly a matter of doing everything wrong. They said the lines ... mostly ... but they said them all wrong. And they cast it wrong. And they designed it wrong. And they scored it wrong. They did everything wrong that they could possibly do. There's actually a fascinating lesson in filmmaking, because everything that they did reflects back to the script or looks like something from the script, and people assume that, if I hated it, then they'd changed the script ... but it wasn't so much that they'd changed the script; it's that they just executed it in such a ghastly fashion as to render it almost unwatchable.^[45]

Conversely, H. R. Giger, designer of the original Alien, was pleased with Resurrection, describing it as an "excellent film", but was disappointed about not being credited.^[46]

Accolades[]

Other media[]

To coincide with the release of the film, a book titled Making of Alien Resurrection was released on November 28, 1997, in addition to a novelization of the film released on December 1, 1997.^[47][48] Dark Horse Comics also published a two-issue comic book adaptation.^[49] A video game for the PlayStation was released in 2000.

Future[]

Joss Whedon had written an Earth-set script for Alien 5, but Sigourney Weaver was not interested in this setting and sought to return the story to the planetoid from the first film. Weaver has remained open to a role in a fifth installment on the condition that she likes the story.^[50] Before 20th Century Fox greenlit Alien vs. Predator, James Cameron had been collaborating on the plot for a fifth Alien film with another writer. Learning of Fox's plans for a crossover, he ceased work on his concept. Before he saw the film, Cameron had stated that it would "kill the validity of the franchise", and that "it was Frankenstein Meets Werewolf"—like "Universal just taking their assets and starting to play them off against each other". Although he later admitted to liking Alien vs. Predator, Cameron ruled out any future involvement with the series.^[51]

In a 2002 interview, Ridley Scott stated that a new Alien project "would be a lot of fun", but that "the most important thing was to get the story right". Scott's concept for the plot was "to go back to where the alien creatures were first found and explain how they were created".^[52] In late 2008, Weaver hinted in an interview with MTV that she and Scott were working on an Alien spinoff film, which would focus on the chronicles of Ellen Ripley rather than on the Aliens, but the continuation of Ripley's story has not materialized.^[53] Instead, Prometheus was released on June 8, 2012. A sequel to Prometheus, titled Alien: Covenant, was released on May 19, 2017.^[54]

At the 2014 Hero Complex Film Festival, Sigourney Weaver hinted that she'd be interested in returning to the role of Ripley, saying: "Had we done a fifth one, I don't doubt that her humanity would have prevailed. I do feel like there is more story to tell. I feel a longing from fans for the story to be finished. I could imagine a situation where we finish telling the story."^[55] She was quoted: "I don't think Alien belongs on Earth popping out of a haystack, which is where I was afraid it was going to go. I feel it should take place in the far reaches of the universe where no one in their right mind would go. There are very few filmmakers that I can think of that I would want to entrust this to."^[56]

In 2017, 20th Century Fox was rumored to be reassessing the state of the franchise after the lukewarm reception to Covenant, although they have not released an official statement to that effect. According to Collider.com, there will be only one additional prequel film before a soft-reboot is made to the Alien universe consisting of a new series of Alien films with brand-new, original characters as well as a new setting.^[57] At the 2019 CinemaCon, following The Walt Disney Company's acquisition of 21st Century Fox, it was officially confirmed that future Alien films are currently in development.^[58]

See also[]

• List of films featuring extraterrestrials
• List of monster movies

References[]

• One Step Beyond: The Making of Alien Resurrection, Alien Quadrilogy – Disc 8, 2003, 20th Century Fox
• Gallardo C., Ximena; and C. Jason Smith (2004). Alien Woman: The Making of Lt. Ellen Ripley. Continuum. ISBN 0-8264-1569-5

Notes[]

External links[]

Wikiquote has quotations related to: Alien Resurrection

• Alien Resurrection at IMDb
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• Alien Resurrection at Rotten Tomatoes