Editorials
Appreciating the Pulpy Sci-fi Horror of ‘Alien: Resurrection’
Despite its ups and downs, I’ve always respected the Alien franchise for daring to try something new with every new entry. From Vietnam allegories to reimagining Chariots of the Gods as a Lovecraftian origin story for the Xenomorphs, the series challenges the very concept of genre as it explores what might go wrong when humanity comes into contact with a truly perfect organism.
And with Fede Alvarez’s Alien: Romulus paying homage to the most underrated movie in the franchise during its horrific final act, today I’d like to look back on Jean-Pierre Jeunet’s unfairly maligned Alien: Resurrection and dive into why I think this oddball gem of a film deserves more love.
Like many sequels, the story of Resurrection begins soon after the release of its predecessor. Desperate for a course-correction after the grimdark prison story of Alien³ left audiences feeling frustrated (which was the studio’s own fault, as they sabotaged David Fincher’s vision every step of the way), Fox attempted to recruit established filmmakers like Danny Boyle, Peter Jackson and even David Cronenberg before landing on French director Jean-Pierre Jeunet. While Jeunet is now mostly known for Amélie, he’d made a name for himself in the 90s with dark parables like the criminally underseen Delicatessen and The City of Lost Children – making him the perfect choice to take the Xenomorphs in a novel direction.
Working off a script written by Joss Whedon (who would later repurpose elements of the story in Firefly due to his dissatisfaction with Jeunet’s handling of the material), the filmmaker and his team faced slashed budgets and tight schedules once shooting finally began. Jeunet even required a French-to-English interpreter in order to communicate with the crew, which is why he insisted that the shooting script should be illustrated like a comic-book. Despite these difficulties, Alien: Resurrection would ultimately be released on schedule in November of 1997.
In the finished film, we follow an augmented clone of Ellen Ripley (Sigourney Weaver) as she wakes up on a medical research vessel two centuries after the events of Alien³. Using the original Ripley’s infected DNA, military scientists were able to clone a Xenomorph queen and are now conducting experiments on her offspring. When the aliens inevitably escape, Ripley 8 joins forces with an ensemble of mercenaries, soldiers and other survivors (portrayed by a collection of talented actors including Winona Ryder, Ron Perlman and Dominique Pinon) in order to stop the damaged vessel from returning to earth and setting the creatures loose.
SO WHAT WENT WRONG?
Despite the film’s financial success (which can be largely attributed to its ingenious marketing campaign, which also happened to gift us with the first modern first-person-shooter game on consoles), Resurrection was so poorly received that it basically killed off the main franchise. In fact, while Alien³ has a lower score on Rotten Tomatoes, that flick has seen been reevaluated as a misunderstood religious thriller due to the Assembly Cut – a privilege that wasn’t extended to its successor.
One recurring point of criticism was directed at the handling of Ripley’s character arc by bringing Weaver back immediately after a heroic sacrifice. While this doesn’t bother me personally since Ripley 8 is technically a brand-new character that only happens to share some memories with her namesake, I can understand how this addition might piss off Alien fans who were already frustrated with the previous film’s decision to kill off Newt, Hicks and Bishop. This wasn’t helped by Weaver’s explanation that she only agreed to return because they “drove a dump-truck of money” to her house, though she has since admitted that the harrowing scene where she encounters her “sisters” was also a big attraction.
Of course, the most common complaint was about Resurrection’s generally unserious tone, with both fans and critics claiming that the pulpy sci-fi approach didn’t fit the franchise’s somber origins. After all, the rag-tag crew of The Betty felt a lot more like something out of Star Wars than even Aliens’ playful yet realistic colonial marines – and that’s not even mentioning the exaggerated mad science behind the messy plot.
Lastly, there’s the simple matter of this being the fourth entry in a long-running series. The novelty factor of Giger’s monsters was long gone by 1997, with the Xenomorphs having become such a huge part of popular culture (from Contra to Spaceballs) that it was hard for audiences to see them as a genuine threat.
All in all, it was the perfect storm for Resurrection to end up not getting the recognition that it deserved.
THE SILVER LINING
As is often the case with movies that are initially disliked but end up finding their true audience later on, many of the things that critics hated about Alien: Resurrection are precisely what make it an entertaining watch today. In hindsight, the schlocky B-movie tone is a feature, not a bug, and the fact that the film feels nothing like the rest of the franchise is my favorite part of the experience. We’d already seen three other Xenomorph infestations at that point, so if the studio was going to force filmmakers to bring Ripley back for more after her poignant death, they might as well have some fun with it.
From the charming ensemble that makes the flick entertaining even when the Xenomorphs aren’t onscreen (I especially appreciate Perlman, Pinon and Brad Dourif’s contributions to the flick) to the grungy sci-fi aesthetic, there’s a lot of great filmmaking going on here if you can warm up to the new vibe. Hell, the cinematographer even added extra silver particles to the negative development process in order to give the picture a futuristic tinge!
The film also features some of the most genuinely disturbing moments in the entire franchise, with Whedon and Jeunet landing on some unsettling psychosexual story-beats as Ripley deals with malformed clones and a disgusting Xenomorph hybrid child that still haunts my nightmares. Not all of these new elements stick the landing (I’m still on the fence about Ripley 8 empathizing with the aliens), but I appreciate how the filmmakers at least tried to keep things fresh for the third sequel.
Of course, that’s not even mentioning the added brutality, with Resurrection offering up plenty of memorable death scenes and unexpectedly gnarly moments like having a Xenomorph mutilate itself in order to produce acid blood and escape its bonds. These are all enhanced by gritty industrial visuals that make great use of hand-made miniatures and set design – though it’s a shame that the Xenomorph is brought to life through janky CGI.
Alien: Resurrection might not be able to compete with the grounded space-trucker thrills of the original – or even the action/sci-fi blockbuster blend of Cameron’s sequel – but that doesn’t make it a bad movie. It’s simply a different take on the source material. And with modern franchise films being satisfied in simply reliving the glory days of their respective IPs instead of exploring new ideas, I find myself respecting this strange experiment a lot more every time I revisit it.
H.R. Giger himself called Resurrection an excellent film – what better praise could you ask for?
Watching a bad movie doesn’t necessarily have to be a bad experience. Even the worst films can boast a good idea or two, and that’s why we’re trying to look on the bright side with The Silver Lining, where we shine a light on the best parts of traditionally maligned horror flicks.
Horror was thriving so well in the 1980s that movies like Pen Densham’s The Kiss (1988) would understandably get lost in the shuffle, only to then gain their fans later on in life. Even still, this one Canadian-American curio has had a more challenging time than others, as far as contemporary reevaluations go, which is very likely due to the movie’s limited availability—at least as of this write-up.
However, the scarceness of The Kiss, while a bit annoying, makes it like catnip for ‘80s horror completists everywhere. Hopefully, a lot of them will walk away satisfied after watching this hidden gem.
Even though The Kiss was intended as the first of several horror collaborations between Astral Pictures and TriStar, as well as the first feature produced by Densham, Richard B. Lewis and John Watson’s Trilogy Entertainment Group, it ended up being the only one produced from that former union. Once the movie was released, TriStar’s distribution jitters—they opted for a regional rollout—did the $6-million flick no favors. TriStar’s cold feet toward horror releases have been well noted, but The Kiss still did a tad better than Night of the Creeps (1986), another genre outing that flopped due to its regional opening.
Shot in Montreal, but set in Albany, New York, The Kiss—which was still called The Host just a few months before its October premiere—concerns an average middle-class family and their forthcoming situation. The uncanny problem in store for them was, in fact, set in motion some years earlier. As that hot and dusty flashback to the Belgian Congo shows, a familial curse was set upon the two Dunbar sisters well before Meredith Salenger’s teenage character was born.
Meredith Salenger, Nicholas Kilbertus and Mimi Kuzyk in The Kiss
The Kiss, which was based on a story by co-writer Stephen Volk (Ghostwatch) and penned by both Volk and Tom Ropelewski, has the outward appearance of The Stepfather (1987). This movie, though, is anything but a gender-flipped retread of that classic domestic disturber. For starters, The Kiss is far less grounded in reality—that much is clear from its unsettling opening scene. There, a trusting girl (Priscilla Mouzakiotis) is the victim of her own deceptive aunt (Céline Lomez); the movie’s titular act, and the story’s first shock, becomes the means of transferring an ancient evil from one host to another.
In the present day, Salenger’s role of Amy Halloran, a religious schoolgirl, is dealt a harsh blow in life once her mother, Hilary Halloran née Dunbar (Pamela Collyer), suddenly dies in a freak accident. But rather than a complete stranger sweeping the Halloran widower (Nicholas Kilbertus) off his feet some months later, Joanna Pacula’s character is that chosen temptress. Here, Pacula plays the grown-up version of the afflicted girl last seen in the movie’s opener. Since Amy’s mother is insistent about there being no reunion between estranged sisters, and she even contemplates buying a gun shortly before her tragic demise, it’s presumable that Aunt Felice poses a threat to her family.
The Kiss isn’t a movie ever too concerned about its own predictability. The audience is indeed often one step ahead of the story here, but also keep in mind how every one of those steps is loud. Take, for instance, the death of Amy’s mother; the Halloran matriarch goes out in garish, gruesome fashion, as a supernaturally commandeered truck sends Collyer’s character through a store window first, then leaves her one leg short. The directorial enthusiasm truly comes out in horrific moments such as these.
The Kiss is always sure to revel in its characters’ ills and misfortunes. So if the plot doesn’t impress, then its lurid parts should. Amy’s mother’s exit scene was proof of an eager, first-time horror director proving his worth. Then, bestie Heather (Sabrina Boudot) survives to tell the tale of a bizarre escalator mishap that, despite showing relatively less gore, spikes viewers’ empathy meter. The wilder bits of this movie, however, commence with that inevitable hookup between Felice and Amy’s bewitched father; their kitchen coitus is paralleled by Amy’s feverish classroom terror. The outcome there is a disquieting cross-cut of sex magic and a young woman’s menstrual onset plus hallucinations.
Sabrina Boudot in The Kiss
From foam appliances to bladders, that parade of special effects in The Kiss casts its own spell on the audience. Felice’s familiar, a visibly malevolent cat, was realized here with several models, some more articulate than others. Admittedly, the demon cat’s not as convincing as most of the effects here, but accepting that artifice, as opposed to fighting it, will make the whole experience way more enjoyable. As for the makeup used to manifest Felice’s inner villainy, it is more minimal and subtle than one might like; yet the work done to turn Pacula into an antithesis of herself is nonetheless compelling.
The otherworldly perils and dreadful goings-on wouldn’t work half as well as they do in The Kiss without the story’s contrast effect. Finding frights in picturesque, extremely ordinary settings was something that took off in the ‘80s, thanks to that sweeping shift to locales like the suburbs. And Amy’s home, a replica of a real Montreal suburban house, is the ideal battleground for any proper good-versus-evil story. It’s also prime real estate for this movie’s satanic panic-inspired horrors.
Because of their ostensibly similar plots, The Kiss has been compared to The Exorcist (1973). Except in Densham’s movie, the sinister, non-Christian entity targeting a teen girl lies within something less apparent and, perhaps, more devastating upon its exposure. To an outsider, Pacula’s Aunt Felice is too beautiful and unobjectionable to ever suspect of being a monster. More suspicious is how quickly she rips into the fabric of the Halloran home. Felice’s mere presence upsets the “texture of family life,” according to the director.
The demon cat in The Kiss
Taking out Amy’s mother and best friend, and distracting her father, would suggest The Kiss is playing by a different set of rules. It is initially leaving its adolescent target unsupported in a rather grim scenario. In contrast, though, this story offers up a surrogate parent who does her best to fill in the holes of Amy’s eroding home life. Mimi Kuzyk does good work as that family friend and doctor, Brenda, who guides the lost child without also steering her in any one direction; she is naturally skeptical of Amy’s accusations until it’s almost too late to do anything about them. So although The Kiss does an admirable job of undoing the main character’s support system, it never leaves her without a lifeline. This dark movie, in spite of everything that’s transpired, doesn’t deprive itself of light and hope.
The Kiss is a potent mélange of familiar ideas. If not for the director’s surprise flair for horror, though, the movie would have been less effective. What a shame that Pen Densham didn’t continue with the genre. As for Joanna Pacula, she is, too, owed credit as the wicked vixen opposite Meredith Salenger’s pitiable Amy; she never fails to be unsettling in her role. Pacula makes Aunt Felice a sexy yet intimidating character.
For horror that steadily doles out madness and menace, while also delivering a flashy and ghastly conclusion, The Kiss is certain to please. Yes, it’s cheesy all the way, but most favorably, everyone involved plays everything straight. That kind of commitment goes a long way with this movie.
The Kiss
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