The “Alien” franchise (1979-2017) is one of these cases that even with some disappointing entries, its several directors have managed to bring something unique to the series. Each entry is visually and tonally distinct and even those films that have been less received have qualities that movie aficionados have come to embrace in the long term. With the first two movies (“Alien“ (1979), ”Aliens” (1986)) already heralded as classic hybrid staples of horror and science fiction cinema that have influenced thousands of filmmakers and actresses and thus, creating even more imitators, the franchise has been expanded in cross-overs (“Alien Vs Predator“ (2004), “Aliens Vs Predator: Requiem” (2007)) and in prequel territory with Ridley Scott’s recent attempts to revive it (“Prometheus“ (2012), “Alien: Covenant” (2017)). It is time to rank all the related “Alien” films from worse to best.

9. Alien Vs Predator: Requiem (2007)

Director: Colin and Craig Strause

By far the worst and most pointless “Alien” related film, the directing duo of Colin and Craig Strause promised ultra violent kills after Paul WS Anderson’s take in 2004 favored a toned down PG-13 atmosphere. Yet, writer Shane Salerno does not know what to do with the two monsters. Unlike Anderson’s effort that subtly expanded the mythology of both the Alien and the Predator, Salerno takes the action into a middle of nowhere US town with all the traditional stereotypes of human steaks running amok and reducing the famous creatures to Jason/Michael Myers hybrids that appear and disappear when the plots call for it. The lack of thrills, a truly abysmal cinematography and a particularly distasteful sequence in a maternity ward makes this entry a pointless cash grab utterly devoid of creative substance and style.

Best moment: None.

8. Alien: Covenant (2017)

Director: Ridley Scott

After the underwhelming reception of “Prometheus”, Scott promised to revisit the Alien world properly this time around removing in the process ambiguous interpretations. Despite high production values, a technical proficiency that is displayed at every frame, beautiful New Zealand landscapes, an eclectic cast and the return of the ominous xenomorph, “Covenant” was an even bigger disappointment than its predecessor. An overwhelming amount of stock characters (some do not even have names), plot holes, illogical decisions and a misplaced heavy dose of philosophical existentialism through lengthy conversations puts “Covenant” at the bottom of this list. Besides an well-conceived sequence with the back-burster and a strong marketing campaign, “Covenant” does not bring anything new to the table.

Best moment: The back-burster scene. If only the rest of the film was as tense.

7. Prometheus (2012)

Director: Ridley Scott

“Prometheus” suffers from the same problems that plagued “Covenant”: idiotic characters, massive plot-holes, pointless subplots and most importantly a lack of identity. The film cannot decide whether it is an “Alien” prequel or a movie set in the same universe. The final product is both disappointing and underwhelming with a surprising lack of scares and excitement. The much hyped return of Ridley Scott’s to the genre he defined twice was betrayed by messy rewrites. Nevertheless, Noomi Rapace is a solid lead complemented nicely by Michael Fassbender’s Peter O’Toole inspired performance, the visual and production designs are off the charts with flawless compositions and there is an appropriate sense of dread. There are some interesting ideas scattered around but these unfortunately are left unexplored leaving the whole thing a half-baked mess.

Best moment: Performing auto surgery.

6. Alien Romulus (2024)

Director: Fede Alvarez

This installment claimed how it will go back to the franchise’s sci-fi horror routes ignoring all the philosophical mumbo jumbo posed by “Covenant” and “Prometheus”. Although the emphasis on practical sets is to be complemented, the script is a rehash of the first two entries with minimal twists. “Romulus” plays it safe attempting again to have a reluctant Ripley clone at the center of the action. While it is devoid from presentism sentiments and features a welcome prologue on a space colony which showcases exactly what type of corpo is Weyland-Yutani, the movie is not particularly scary or gory lacking real suspense recycling moments from “Alien” and “Aliens” afraid to have its own distinct identity. A sudden patch up with the “Prometheus” timeline is jarring, the unethical use of a dead actor lingers in memory more than the xenomorph’s actions and Alvarez’s script is unable to give interesting traits to the film’s small cast.

Best moment: The alien lives.

5. Alien 3 (1992)

Director: David Fincher

A troublesome production since its inception, the much delayed and hotly anticipated sequel was initially an underwhelming experience. With several creative voices behind it that resulted in David Fincher denouncing his Hollywood debut, it is a miracle that “Alien 3” was released. Rectifying the end of “Aliens” in ill-conceived fashion, Ripley now battles the mischievous xenomorph in a prison planet. The ideas are not bad supported by a religious horror like atmosphere and a complementing production design of decay but the interchangeable prison characters who all look and talk the same makes it hard to emotionally invest to someone besides Ripley. Yet, Fincher manages to imbue a strong visual style, there is a palpable sense of melancholia throughout elevated by Elliot Goldenthal’s inspiring score and Weaver returns comfortably to the role that defined her to explore further the damaged psyche of Ripley.

Best moment: The Alien lives (again!).

4. Alien Vs Predator (2004)

Director: Paul WS Anderson

A controversial choice for sure but time has been kind to Paul WS Anderson’s “Alien Vs Predator”. Despite a numb PG-13 rating and the existence of almost one dimensional characters, Anderson expands smartly the Alien/Predator mythology with a clever set up favoring atmosphere similarly to John Carpenter’s “The Thing” (1982). Although it is not scary, there are some inspired action moments which are supported by phenomenal production and sound design that ensures every new chamber is unleashing a new trap in the form of an ever shifting pyramid. Anderson makes maximum use of his budget and has solid action ideas while putting strong emphasis on the practical make up and monster effects by the legends that Alec Gillis and Tom Woodruff Jr are. It is substance over style - some shots bear a Lovecraftian beauty to them, with a clear love for the source material.

Best moment: The Alien Queen runs loose.

3. Alien (1979)

Director: Ridley Scott

This cinematic behemoth of science fiction horror created countless imitations with its novel production design, a monster that no one has come even close to replicate or surpass (by the great Swiss artist HR Giger) to this day, a strong and enduring female heroine in the form of Ellen Ripley and Jerry Goldsmith’s spot on score. Scott’s direction makes the most out of Nostromo’s claustrophobic setting presenting seven distinct ordinary individuals that are forced to battle an unstoppable and otherworldly foe. He stages beautiful sequences of hair raising tension that invoke the primal fear of bad things lurk in the dark with extreme precision focusing more on the psychological terror rather than full blown gory sequences. Sigourney Weaver plays Ripley with the appropriate amount of vulnerability and relatability giving birth to an iconic and enduring for years to come character.

Best moment: The chestburster scene.

2. Alien: Resurrection (1997)

Director: Jean-Pierre Jeunet

The Hollywood debut of formalist Jeunet saw Joss Whedon’s script bringing cleverly back Ripley with interesting remarks about the ethical use of biotechnology. As the best looking entry, it is a triumph of sensational style: the production design of Nigel Phelps, the saturated emetic and green cinematography of Darius Khondji and anachronistic costumes are pure visual delights. Jeunet mixes Scott’s slow burn approach with Cameron’s rollercoaster nature while bringing forward erotic (so French) undertones, black humour and ferocious gore. Weaver is having the time of her life as the reborn Ripley and the newcomers register, particularly Perlman’s brute and Pinon’s disabled mechanic. Misunderstood by the time of its release, “Resurrection” might have too many weird elements for a mainstream blockbuster but boasts a terrific underwater sequence that will leave you at the edge of your seat.

Best moment: The underwater chase sequence, hands down.

1. Aliens (1986)

Director: James Cameron

The undeniable king of the “Alien” franchise, James Cameron’s “Aliens” is one of those sequels that managed to expand the mythology of the original in an organic way. Military porn, a talented cast and scenes of excruciating suspense taking place in the wonderfully crafted claustrophobic sets of Peter Lamont (“Titanic“ (1997)) are part of Cameron’s rollercoaster raising the stakes in each unique xenomorphic confrontation. James Horner’s legendary score is a different beast from Goldsmith’s work while Adrian Biddle’s metallic cinematography became an 80s staple. It is the relatable and likeable characters that make this sequel appealing. Weaver creates an action heroine that film fans deserve while fan favorites Jenette Goldstein and Bill Paxton steal the show. And despite its impressive technical efficiency on creature effects, shootouts, chases and explosions, “Aliens“ is surprisingly a celebration of motherhood under impossible odds.

Best moment: Too many to chose from but the reveal of the Alien Queen is still a jaw dropping moment without an ounce of CGI.