Alien

If someone were to define the qualities a truly significant and excellent film should have, it wouldn’t take them long to get to the concept of timelessness. And since we have been in the XXI century for some time already and timelessness is determined only retrospectively, I would put Alien as the benchmark for timelessness in the movie industry, because, save for certain aspects of the technology of the ship, this film has not aged a day. What is striking, however, is that even after all this time and all the similarly thematic stuff created during it, this film never ceases to seduce the attention of the viewer in an almost exhibitionist manner, holding them under constant tension, even though they already know all the twists. This is undoubtedly the result of the amazing work not only by make-up artists, set designers, the technical staff and Jerry Goldsmith, but especially Ridley Scott, who possibly never again in his career would make something with such confidence, and his timing for editing and sense for building tension outside the frame that make every scene with the famous terrors material for a wholesome horror story. Every aspect of that necessarily cut-off world and environment has been though-out to the tiniest detail and the initial curiosity (who’s sending the signal? Who does the spaceship belong to? What is that creature on Kane’s face doing and why is it keeping him alive?) is gradually overcome by fear and concern for the characters, while always providing an explanation that makes sense. In addition, the claustrophobic setting and the reliance on sound work flawlessly throughout, making Alien a unique and very artistic spin on the space-slasher that paved the way for a host of followers, but with a creative dominance that has made it impossible for them to approach it qualitatively – the only thematically similar contribution that gets close (and which in fact I prefer) is The Thing. James Cameron in the direct sequel understood that he had to take a different, more explicit path, and he did it wonderfully. In any case, the privileged status of this film is unquestionable and… timeless. (03/05/2020)

A classic that nowadays affects me more with its perfect visual design by R.H. Geiger, rather than a haunting impression, as during the first watch. Yet it is impossible to admire R. Scott's skill in inducing an atmosphere of danger and working with the "established" horror techniques that have become the quintessence of modern science fiction horror filmmaking under his guidance. (01/27/2004)

Ridley Scott's first major "notch" in world cinema. A film shot in an utterly timeless way with lots of creepy sounds and visual "experiences". Sometimes I wonder how much better the final impression could have been if I could have sat in the cinema (preferably alone) in that year 1979 or 1980 and enjoyed the horror in its full glory on the screen. But back then I was just a twinkle in my mother’s eye...))) One of Mr. Scott's best pieces. 100% (09/30/2009)

Ridley Scott cannot be denied his directorial skill and sense for a unique creepy atmosphere, but after so many years, it doesn't have quite the same level of horror as it did ten or twenty years ago. The original screenplay, the great cast, and the excellent direction, along with the depressive music and fantastic devilish atmosphere, are all positives, But I still give preference to the militant Cameron. (11/01/2003)

When you hunt a tiger in the daytime with a gun in your hand, you have at least some hope of success. But if you take away the light, end up dumped in the middle of the jungle in the dark of night, surrounded by the unknown, and all your primal fears will return. The tiger has the advantage here. It has become a family legend how my mom almost gave birth to me prematurely due to attending a screening of Alien in the Alpha Cinema (the whole story is made much richer and different with every retelling, so I will not elaborate on it here). You must admit that you’ve just got to love this movie, especially since after all these years, it is still the most impressive example of its genre. (02/10/2007)