>>740 >Jose Giovanni I think someone touched his story and some of his works in the old/second board, he's an entertainment guarantee, even his personal story in which the military aspect of it is the most interesting.

>>737 >Rand's apparent preference to go-it-alone This statement has bothered me since I wrote it. I admit I'm no expert on Ayn Rand but I made a basic error. While she promoted individualism and selfishness, it does not follow that she necessarily preferred to "go-it-alone". Furthermore, it's incorrect to imply she opposed all forms collectivism. My understanding is that she favored collectivism as a means to advance self-interest. For example, a friendship can be beneficial to you. However, I still see a difference between Rand's views and the sort of voluntary collectivism (like a community group) that seeks to advance the "greater good".

Just saw Hampow93: My Brother, Which I Care For https://www.youtube.com/watch?v=sK9XfgDse4E It's a documentary about a pair of twins who live in South Carolina and film emergency vehicles. I went into it ready to laugh at losers but it was sort of beautiful. Like a dark real life Beavis and Butthead.

>>743 Thats an Adrew Ruse prod. right? I think there's also a Goth King Cobra documentary. I havent seen neither but I regularly watch KingCobras livestreams because his worldview is so weird and fun. He makes costum wands and says the green tea Monster is the best one. And Hampow uploads every week, dunno why im still subbed cause I never watch his vids lol

>>731 Hey there, excuse me for the long time for a reply but was out for a while. >Now that you are familiar with Mexican action, what did you think of Mariachi? Not gonna lie to you, i saw it a long time ago on TV and i don't recall being fond of it nor my uncle and cousin, subsequently when i was discussing with local film circles (actually just some dudes from the region who came for a forum and we drank and discussed how to get government money) there was a lot of animosity for it. That's a big can of worms you opened there, to this day its effects are still swinging in the local filmmaking, although in subtle touches. Speaking very strictly about the product itself i think it was a giant anomaly. Man i wrote a long winded post forgetting the first part of this line so cutting to the chase El Mariachi showcased a director with complete foreign influence in terms of style, borrowing from Hong Kong Blood Operas and italian westerns (not common nationally) and a new perspective with almost every actor being an outsider (due to being amateurs or local talent) it ticked all the boxes for freshness. Personally i liked the cinematography a lot (i'm a big sucker for wide unorthodox angles, my repeated line in all the boards i visit) but the script and characters are overly silly/non-common, it's another southern mexican power fantasy. At this point you can guess it's a common thing in well-known (aka nationally distributed) movies because that's how they get to know themselves for a wider audience aka the distributors with the connections to the USA. The movie portrays 3 main characters, the southern (foreigner) who gets everything right, the stoic northerner who comically missteps all the time and the white villain (the "foreigner") all of which are the usual archetypes that got upgraded to new levels in this movie, the villain even created a long-running joke that has many victims like Red Dead Redemption. The civilians did appear prominently which was rare in northern films (the motel guy, the henchmen) so honestly it broke ground in terms of context development, but ultimately its main narrative was the same old same soup. All in all it was a nice "accident" that left too many negative stigmas to appreciate its real value at the time, good cinematography and a risky business proposal (non-cinema-sponsored project) and to be fair, other than the real protagonist and all his side of the story, it was a movie good for the region. Now if we want to talk about the consequences of its context like how it was made, the sequels its produced and the archetypes it practically founded here (moco sickness, the legend of the budget, protag being disappeared, director being a renegade out of reject/fear) which are frankly more famous than the movie itself round these parts, then that's another bigger story. Spoilers none of them were any good, Rodriguez and his works are virtually blacklisted even in taco stands By now you might imagine northern mexico hates every single national movie out there, that's part of the big story, but the truth is the popular cult movies around here are not the usual man against men stories of tiny individuals and their meteoric rise to the top, squash people and be the boss which are popular with southern and american individuals, no, the stories people seemingly cherish here are man/dynasty against adversity stories, dudes who are in control of their lives but are against nature, tough environments or internal family/clan clashes. The Blood In Blood Outs, the Chato's Lands, the Death Wish, the Hierro Brothers, the Black Winds, those are the ones people ask for.

>>740 >>741 Giovanni/Damiani is tops, as a script writer or sometimes as a director. I don't remember how many times i've seen Le Deuxieme Souffle, somewhat retelling some of his experiences in the anti-resistance gang. For a rough corsican who volunteered for the german side in WWII and killed usurer jews in Paris i found puzzling how he, in his double identity, mingled with JP Melville who was a staunch resistance member (also a jew, hence his hack attitudes at times) and hired the jewish starlet Marlene Jobert for one of his movies. I don't blame the man, that girl was just so stupidly hot.

>>744 It's trappped, not sure if he's Ruse but yeah the same one as the Gothic King Cobra doc. KC is hilarious.

Sladké hry minulého léta AKA Sweet Games of Last Summer (Juraj Herz, 1970) Immediately following his horror classic Spalovac mrtvol, Herz took a drastically different stylistic direction with this lighthearted summer romp produced for Slovak television. The hourlong film is based on a short story by Guy de Maupassant about a group of friends, Mouchette and her five orbiters, who spend the summer gleefully boating down the Danube and lounging around an artist's shack. The film takes visual inspiration from impressionist painters, with picnics and parasols that channel Monet and Renoir. The editing tends to be impressionistic as well, arranging images and colors that create a carefree mood rather than advance a story. But as the characters' joyous temperament transcends every pitfall they encounter, you start to wonder if there's something very wrong with them.

A surprisingly underseen horror from occupied France. Perhaps one reason it's overlooked is the bland English title "Carnival of Sinners" dubiously replaced the superior literal translation "The Hand of the Devil". The story follows a failed painter who purchases a talisman -- a left hand in a box. The talisman changes the painter's fortune, immediately granting him personal and professional success. But it's a Faustian arrangement that gradually pulls him down, and he might fight to break free. Maurice Tourneur's style of horror is very similar to that of his son Jacques: regular 1940s people encounter dark supernatural forces that send their lives into disarray. These films are like paranormal noirs, shot in black and white with expressive lighting and hard shadows. As with Clouzot's Le corbeau, La main du diable is a Nazi-funded French production with a subtext of resistance. Here the film's malevolent force is a short, unassuming old man -- an easy stand-in for a Vichy bureaucrat managing the occupation.

Peter Hutton's At Sea (2007) chronicles the birth, life and death of an enormous container ship. The film has no sound, a bold choice by the director, and the camera rarely moves. Under these circumstances the primary artistic consideration is toward carefully framed and composed image aesthetics. I don't know Hutton's motivation, but my assumption is that he wanted to create "moving photographs" in the purest sense. Contrast Hutton to James Benning, a director who uses a similar visual form. Since Benning's frames have sound, they're easier to place in the real world. Hutton's silent frames are naturally more enigmatic. I have a favorite shot from each of the three sections of At Sea. First, the colorful streamers floating in the wind in front of the finished ship at its christening. Second the bright white moonlight reflecting off of the inky black ocean as the ship hauls freight. These images are a payoff of the sequences preceding them. The last shot that sticks in my head is a man repeatedly swinging a sledge hammer into the base of the giant hull, as the rusty ship is beached and being salvaged by hand. The shot is memorable not because of aesthetics, but because the man's effort seems utterly futile.

I watched Downey's Pound. It's not very good, but there are some interesting camera maneuvers and a few scenes with funny dialogue. It only vaguely stimulated my interest in the rest of his filmography.

>>845 I remember the Pound soundtrack was rare and desired but I forgot who directed the movie. Is there anything better to watch than a TV rip? For whatever reason Criterion declined to include it in their Downey box set.

>>848 Not sure of who holds the rights. I do know that through at least the 80s or 90s Downey didn't even have a copy of the film itself. The film was never released in any official format. It doesn't surprise me that people wanted to find the ost and I had no idea it was released.

Backfire (Vincent Sherman, 1950) A decent second-tier noir with Edmond O'Brien. Characters jaunt around Los Angeles to sleuth a mysterious disappearance and its ensuing trail of murders. Like D.O.A., the well-known O'Brien noir released the same year, Backfire has a backdrop of WWII vets struggling to find their place in a society that has progressed without them. With limited job options, these men feel a tug toward the seedy side of life in order to make ends meet. The flashback-heavy plot takes us through dilapidated hotels, dark bungalows, smoky arenas and swanky nightclubs. Warner Bros Swedish import Viveca Lindfors gets top billing in the opening credits despite limited screen time. Lindfors has a strong, exotic face with riveting eyes. She's prettier than Swedish icon Ingrid Bergman, and Warner brought Lindfors stateside hoping she'd become the Next Big Thing. While she's a standout in this film, Warner nonetheless declined to renew her contract. She was relegated to relative obscurity in B-movies and TV roles for the remainder of her career. Another interesting castmember is Leonard Strong, who droops his eyelids and adopts a rather silly accent to play a Chinese butler. Strong was a Utah Mormon of Welsh heritage often cast as Asian bit characters. Although imdb claims he's an "Eurasian-American actor", he had no Asian blood. So his caricatured portrayals could be seen as mildly offensive yellowface.

>>863 Here's a more exciting review from the noir thread on 8kun. I wish my writing could approach this level of quality, but I don't have the proper mindset for it. At this point it takes a lot to thrill me. I think certain writers/influencers gain a following because they can convincingly communicate their outsized enthusiasm for a film.

Over the last week I watched If a Tree Falls: A Story of the Earth Liberation Front, and Vaxxed: From Cover-Up to Catastrophe. Both were good documentaries. If a Tree Falls definitely worked better as an objective documentary. The film proposed questions rather than definitive statements. I learned that ELF was based and didn't have their chance to attain full fruition because they partnered with a piece of shit heroin addict. Vaxxed has more of an agenda and takes the offensive . However, it's logically sound and the evidence is well presented. Are you ready to live in a world where half of the fucking population is autistic?

>>864 It's amazing how people can write such an in-depth well-written review for a movie. Lots of film review sites that show up on the top pages of google or most of the "top reviewers" on letterboxd can't do that. I can't either, probably because I'm just a superficial movie watcher.

Text (2019) Dir. Klim Shipenko Protagonist takes over a dead man's phone and tries living his life, or rather, fixing what he has left. The relationships between characters can be a bit melodramatic and trite, but how the protagonist deals with such situations is more of the focus. The psychological drama is handled quite well and subtle. We see him wandering through the depressing land, making an effort to redeem himself and find a way to escape from this miserable life, only to realize he'd be forever stuck in it. The film also describes how a complexly broken system can ruin one's life and how the human conscience stands against such circumstances. Great cinematography and editing which intensify the atmosphere and psychological aspects.

Queen of Spades (Pavel Lungin, 2016) A tale of obsession, love and addiction, this film can be seen as the opera equivalent of Black Swan, but with less tight script. The plot is rather soapy at times and the characters are painted as caricatures, but with good direction they evolves into a stylized picture as a whole. This film is more style over substance I think. I still enjoy the great opera music, beautiful set pieces and the surrealist plunge into destruction of the protagonist.

This was the most modern french thing i've ever seen, quite a trip and worth a watch.

>>1112 u wot m8

>>766 trappped is a guy named Joel who edited some mde videos. Crime is not a genre that I usually seek out movies within. But surprisingly, Vice Squad from 1982 not only turned out to be highly enjoyable, but also a quick reminder of how well shot and tightly edited thrillers and crime films used to be. This film probably has the most women beatings I've ever seen imprinted onto celluloid. I read that Scorsese adamantly defended the film and met a lot of resistance in his attempts to get it nominated at the Academy Awards. The dialogue ranges from pre-code pulp to sadistic and sharp. It's also a nice little time capsule for degenerate hollywood and has some great night time shots reminiscent of the best of Thief, which came out just a year before. While Mann's film was manneristic and slow, Vice Squad is fast and sleazy.

>>1132 We have corporate shills now or what

>>1139 I thought he was talking about the Bakshi animated films >Both are old but interesting movies

>>1139 heh, felt that way to me too, lad. >>1143 welp, there's old and then there's old.

>>1143 He was talking about Hobbit too. The whole post sounds like a VPN ad to me, lol

A satire that perfectly balances humor and pathos, Tot samyy Myunkhgauzen (1979) serves as an epilogue to the well-known adventures of Baron Munchausen. After his return home, the baron's extravagant stories and lifestyle begin to annoy some of the local townsfolk. Ultimately he's challenged by the authorities to renounce the tales which form the essence of his identity. This creates a very interesting dynamic where the Baron is forced to defend himself against a sort of show trial. At what point does a man conform to society, especially when he holds completely eccentric beliefs? https://www.youtube.com/watch?v=OWB4k-YXJUM https://www.youtube.com/watch?v=tw0VrqbKe7U

>>713 Interesting, I didn't know about the Walker controversy or his effective blacklisting from Hollywood. I've seen some of Alex Cox's later projects and thought it was strange that he'd make stuff like an Emmanuelle documentary (which wasn't very good) but I suppose his options were limited.

>>1221 Thanks for this post Anon. Downloaded and watching it now. BTW, do you know where I can find subtitles for it?

>>1230 There are subs on the youtube videos or at http://www.opensubtitles.org/en/search/imdbid-80037/sublanguageid-eng/moviename-tot%20samyy%20myunkhgauzen

>>1234 Thanks! Something else to add to my bucket list to learn about. :^)

Mario Monicelli's La grande guerra (The Great War) stars Vittorio Gassman and Alberto Sordi as a couple of slacker Italians recruits fighting the Austrian army in the muddy trenches of WWI. Although this film is a consensus classic with impressive battles scenes and a uniquely inspiring ending, I was never fully engaged with La grande guerra. The story is episodic without a strong through-line, so it's not always clear if events are fleeting diversions or the building blocks of something important. I suppose the different episodes are a way to explore the characters, nonetheless I think some of the filler should have been cut. The film was rather long and sometimes felt rudderless.

When a woman ascends the stairs (1960) Complex and bleak film about a bar hostess who really shouldn't be a bar hostess. Basically she starts out the movie with possibilities, hesitates over them then discovers they are a poison chalice or fraudulent, she desperately tries something as she runs out of time and ends the movie with no possibilities. I think maybe the director thought the bar hostess scene was awful. Other than that you get some of the best use of location based story-telling I've seen in a long time, great acting and a well worked theme about appearances. I thought about it for a week after watching it so there's definitely some substance here. Love Exposure (2008) I've meant to watch this one for years but the runtime put me off. It was great. You get the novel pacing/editing/character/plot decisions and high concept playful genius that the best of Japanese media seems to have. I mean you have a cult called the church of zero, their logo is a 0 with a crucifix over it and their interaction with the main character is to try to prevent him from getting an erection when presented with a view of his love interests panty clad crotch. Similarly if you ever heard someone pretentiously explain that a camera is voyeuristic you'll probably get a kick out of half the movie being about voyeuristic panty shots, including a guy telling people that their eyes are like cameras, cameras to take panty shots with. Anyway, I just wanted to say the 4hours is not that bad and I probably should've watched it years ago.

Roar This is the second time I have seen this movie, I may have posted about it here before, and it is still not something I can watch or analyze rationally. If that sounds strange, I'll tell you a little about the production and you'll get the idea. Roar was made by delusional hollywood liberals. It may, in fact, be the ultimate delusional liberal movie. So delusional that the director, a wealthy executive producer whose latest success was The Exorcist of all films, believed mankind could live in harmony with lions and sought to prove this by filming a family-friendly comedy using SEVENTY ONE UNTRAINED LIONS, MANY OF THEM MALE, and HIS OWN FAMILY AS ACTORS. This went about as well as you'd expect: production lasted over eleven years, over a hundred people were injured (many of them on-screen), the lions were on edge from having too many males in one place and being surrounded by other untrained big cats, the film bombed, and Tippi Hedren divorced the director afterwards. Watching Roar is like watching them haul the steamship uphill in Fitzcarraldo, except that scene is the entire movie and the cast is constantly taking real injuries. Even though you know it doesn't happen, there's still a real, overpowering sense that the ropes could snap at any moment, that the lion biting Tippi Hedren's head (which scratched her skull and sent her to the hospital for several weeks) could bite just a little harder and kill her. Roar awakens a sort of primal terror and hyper-alertness in me. My filmfag brain shuts off and I watch the lions like a hawk, waiting for the slightest cue they'll attack or try something playful. They frequently break out in fights, drag in dead animals, or chew on the cast. The cast (except for the director) is in constant terror of them. Reportedly they often screamed in pain the moment a take ended. You see them injured seriously on screen, repeatedly, in scenes played off as heart-warming or funny. This is the scariest movie I have ever seen, the director and his character is an weirdly vindictive madman who steals, cheats, and literally throws his own family to the lions for his mad utopian dream, and it's trying to play itself off as a family comedy. Would I recommend this? Maybe. It's an experience, something you dig up on Youtube and share with friends who think you're exaggerating. It may be the best accidental horror film ever made and the cinematographer manages some nuts shots considering he's surrounded by lions and gets scalped by one.

Beau Travail recently topped a list of "greatest movie ending of all time" which compels me to say that neither the ending nor the preceding 90 minutes achieves greatness. The film is a glossy cologne advertisement brought to life, showing the Foreign Legion as a cadre of homoerotic beefcake models partaking in a feminized soap opera. Characters stare intently into space as if something important or ponderous will soon occur, but the predictable payoff was so overdue that I'd stopped caring. Sometimes I enjoy style over substance—and these Djibutian locations are spectacular—but this film's brooding, contemplative pace is out of balance with a lack of deeper significance. I'm curious if Claire Denis fans feel differently, or if anyone can recommend something better from her filmography (I heard this was her best).

I'll probably come off as a pleb, plz no bully. Ended up rewatching Trainspotting after watching it on a friend's house many years ago. I'm sure this movie was already debated to death but there's something that I quite like about this film and is the use of music. I'm not talking about the most entry level stuff like Brian Eno or Lou Reed but the electronic music that is used in some of the segments, makes me want to dig into it since I'm very into the prodigy but I wouldn't know where to start. I think 24 hour party people had a section about the "rave scene" I think was called by the end of the movie, but I wouldn't be too sure since it's been a while I've seen it. Would definitely like to know more about that underground scene since I'm not british and this isn't the 90s anymore.

>>1485 >the electronic music that is used in some of the segments, makes me want to dig into it since I'm very into the prodigy but I wouldn't know where to start. I think 24 hour party people had a section about the "rave scene" I think was called by the end of the movie, but I wouldn't be too sure since it's been a while I've seen it. Give the original UK cut of Human Traffic a watch. The film itself is alright but the important part for you will be the soundtrack, containing a lot of the iconic shit from that time. The US version dubbed out language that they thought US audiences might have a hard time with and cut about 15 minutes of footage, but most importantly for you they changed a good chunk of the music.

>>1485 England was the hotspot for much electronica in the 90's, most movies made by anyone under 40 had strong connotations of "the scene" played somewhere. >this isn't the 90s anymore. It should be, and at some point the nostalgia for it will kick in like most decades do after 30 years. The scene in the UK was massive, some of the most important ones were Garage (UK Garage to avoid confusion with US Garage Rock), Big Beat, Breakbeat and Ambient. I don't remember much of the music from the movie as i didn't like it that much but if you liked The Prodigy then Big Beat is your dish. Among them were also The Chemical Brothers, The Crystal Method and Fatboy Slim. They were also pioneers as they used quirky music videos to promote their otherwise abstract lyrics and lack of frontman, much of the golden era of the format was commissioned by those artists. Which reminds me that i need to step it up with that thread.

Three Colours: Blue This probably implies I'm a plebian, especially since I haven't already seen it, but I didn't like it. I downright hated a lot of the colour grading and the woman's lover. The only thing that kept me going was Juliette Binoche's performance.

>>1603 This is a terrible post and I can probably do better tomorrow, when I'm feeling less drained.

>>1603 >This probably implies I'm a plebian There was a time i thought the same and i never posted until i realized anons here are actually welcoming because it means discussing a common thing. But by the time i concluded that i stopped watching films to focus on other things heh. I recall only watching Red, it was okay, nice camera work in particular the dim-lit and sunset scenes but i don't remember liking the old man courting the elegant girl nor the lad who kept falling in despair watching his girl with another dude, which now that i think of it means i didn't like half of the movie. Clever montage have to say because the editing implies old man banged the girl like there was no tomorrow which was also not a good thing to remember.

Bian jing feng yun AKA Lethal Hostage (2012) Director: Er Cheng Quite surprised by this hidden gem. The English title/poster makes it come across as a C-level action movie but it really isn't, more of a crime drama that focuses on relationships between characters. It's beautifully shot, slow-paced, and not dialogue heavy, giving it an arthouse feel. Several interlinked stories are featured with some non-linear storytelling, accompanied with moody color schemes and great sound design that contributes greatly to the ambient. Very pleasant find.

Alien³ – I used to dislike the third Alien for a long time but after watching it on several occasions in recent years, it actually grew on me substantially. Talking specifically about the assembly cut, I think it’s actually a pretty solid film. This was an infamously troubled production and who knows how different the end result would have been if they were able to stay true to the original vision, for better or worse. But ultimately I’m fine with what we got. It’s funny to think there were times when this was considered a weak product when by today’s standards it’s an outright masterpiece. How the medium degraded… But anyway, it’s easy to see why the film is, even on conceptual level, disappointing – the first two Alien installments did seemingly everything there was to do with the premise, being sort of two sides of the same coin. You had a movie about a single alien, and then another one about multiple aliens, almost deconstructing the first one in a way. No matter what you do afterwards gonna feel derivative of either one. So they were really hard-pressed here and decided to go for the middle ground I guess, which is probably the best course of action all things considered but is undeniably lackluster since you’re not really getting anything new. The idea was to bring it back to its horror roots after Cameron turned in into an action-adventure rollercoaster with a relative happy end. With that in mind the decision to kill everyone off except for Ripley is perfectly understandable, though its execution does feel sloppy, especially if you marathon the films back-to-back. I believe there were better ways to implement the idea without it feeling like a deus ex copout. But like I said, eventually it grew on me. I did like the cast of prisoners that are the supporting cast. Even though they’re supposed to be these scary rapists and murderers, they actually come off quite likable, almost as a bunch of teenagers the way they are written. So it basically turns into Ripley and the co. fighting the alien Home Alone style. Which is kinda comfy. What I really liked about the film is its atmosphere of being stuck on some forsaken rock of rusting industrial complexes and dilapidated machinery. It’s very bleak and depressing in the best sort of way and is explored to the extent I haven’t seen in any other movie. It is an absolute joy to watch if you’re into those aesthetics. Of course all of that wouldn’t be worth much if it wasn’t filmed properly and thankfully the cinematography is absolutely excellent, with a lot of powerful wide shots and pleasing compositions. The art direction is also great; the film is roughly divided into two primary color schemes of metallic bluish gray and rust sepia, photographed with deep shadows that give everything that brooding weight. It conveys the atmosphere perfectly. Special effects on the other hand took a hard hit here and sadly do not hold up. Many people think they used CGI for the Xenomorph but that’s actually incorrect, they puppeteered a doll on the green screen and then superimposed it in. And yeah, it looks terrible, has a noticeable green outline and doesn’t blend in right in any shot. Other VFX range from okay to passable but thankfully this isn’t really an effects-driven project and everything that was shot in-camera looks good enough to compensate for that. The music is also really good and has a clear, powerful sound, though it’s largely reminiscent of the Aliens score. So it’s an interesting project, with all its production history and such. I honestly don’t think you can make a truly satisfying third Alien film that’s not gonna be a rehash or fanfiction-tier cringe, so I’m glad they instead leaned more heavily on the visual and atmospheric aspect, giving it a standout vibe.

>>1654 Know that William Gibson's original screenplay has an audiobook as well as a comic series made of it both of which are pretty wizard. But yeah, it's not great that this had not been realised as it was originally intended.

>>1662 Do you have a link to the comic?

>>1663 It's simply called Alien 3: The Unproduced Screenplay.

>>1662 >>1670 Read it. Didn't like it at all tbh. It's exactly the type of rehashed fanfiction crap that I didn't want to see. Boring meandering stuff with horrible dialog and zero style and atmosphere. Also way too many niggers, though that's probably not indicative of the original script. I now have even more respect for the actual film if this is what they were planning to do initially. I wonder myself what I would have done for the third Alien film if I had to do it. Perhaps set it in a completely different place unrelated to the first two films at all. And then have the new characters discover the craft with Ripley at the end of the film for tied continuity. Though that's basically postponing things rather than solving them since now you have the exact same dilemma of what to do with those characters in the cliffhanged "Alien 4".

>>1704 lol and i wanted to upload it to test run some graphic novel/screenplay thread, didn't because i got confused and downloaded the original early 90's comics instead of the newer Gibson ones. Alien 4/Resurrection always sparked my curiosity due to having an odd director helm it, a pre-Amelie Jean-Pierre Jeunet, always thought it was a risky move by everyone involved.

>>1706 I generally look fondly on Resurrection though I know that's an unpopular opinion since it's written by Joss Whedon who I can't stand myself. If Alien 3 is an actual film that's just rough around the edges, Resurrection is a full on schlock B-movie. Though it has its appeal due to some interesting imagery and general 90's vibe and aesthetics. It's pretty fun. And of course by the standards of today it's still a fairy decent action flick. In a way it was a good call to just turn in into over the top buffoonery when forced to make another Alien sequel, since by '97 the franchise felt dead and exhausted if only they knew.