Ripley’s Shame: The Backsliding Feminism of the New Alien Movies

In 1979 director Ridley Scott and screenwriter Dan O’Bannon gave audiences the scare of a lifetime with Alien and a feminist action heroine with Sigourney Weaver’s Ellen Ripley. The blue-collar woman with ‘80s curls transformed into a kick-ass action heroine, a small step for women in a landscape that’s still male-dominated. Weaver’s character hasn’t arrived

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The Lost Versus

Movie audiences love great action, and they love it more when they care about the characters. From Frankenstein Meets the Wolfman to Batman v Superman to Ballistic: Ecks vs. Sever, the overpriced-popcorn-loving set rush to the local cinema to watch what goes down when two classics come together to settle the most important question mankind

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REVIEW: Great Ideas Lost in the Rehash of Alien: Covenant

To watch the Alien prequels — Prometheus (2012) and now Alien: Covenant — is to marvel at the changes in astronaut-hiring practices that must have been implemented between the earlier chapters and the later ones. The characters in Ridley Scott’s 1979 original, set in 2124, are competent spacefarers who encounter difficult situations. But the people in Prometheus (set in

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The Tragic Arc of the Eddie Murphy-John Landis Trilogy

After Eddie Murphy(‘s social media team) tweeted then deleted a tease about it, Paramount Pictures confirmed the implausible: a sequel to 1988’s Coming to America is currently in development. The announcement raised the expected questions. Will Arsenio Hall return? Does McDonald’s-knockoff McDowell’s serve breakfast all day now? Will the Jheri curl subplot continue? And above

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