Alien released in theaters to American audiences on May 25, 1979. The franchise keeps slithering forward in myriad directions, and this year marks its fortieth anniversary. It is clear that 20th Century Fox plans to celebrate that, starting with a series of short films produced in partnership with Tongal and released on IGN. The six titles–“Containment,” “Specimen,” “Night Shift,” “Ore,” “Harvest,” and “Alone”–serve as an excellent representation of the larger constellation of films, novels, comics, and games: rough, uneven, curious, often fascinating and genuinely terrifying, and occasionally just plain disturbing. Additionally, Sam and I are both intrigued by the recently announced Alien tabletop RPG, which sounds quite promising to me. I can’t wait to be an underpaid, disgruntled space mechanic who gets swiftly killed by an alien!
One of the most unusual fandoms that my wife and I share is that of the Alien movies. Neither of us are fans of horror, but we both watch Alien with dread fascination at least every Halloween season, and we delight in the high-octane adventure of Aliens. More than the horror, and even more than the scary and very cool creature, set, and prop design, I really like the characters and burnt-out, working-class setting. I like the idea of a larger, drab, hyper-corporate galactic society. And I like that the xenomorph, for all its terror, represents one very horrible but isolated threat in a small, out-of-the-way part of that galaxy. The feel of the films is like Star Wars without hope (and with even more banged-up, retro-futuristic technology), except that instead of focusing on a great hero, we’re following the space trucker who’d refuel Tosche Station.
Because of that, I’ve lost interest in the franchise’s more recent shift toward increasing gore and body horror (though I’m not kidding anyone: from the very first film, that’s been an important part of the visual storytelling, tone, and even the themes of the film, so I’m not opposed to it on principle). I also could care less about the positioning of the xenomorph in the context of some greater mythos, some half-baked reconstitution of Chariots of the Gods with biological warfare. And sometimes, even when I really like what an Alien title is doing, it’s still just too scary and intense for me to press on with (I’m looking at you, Alien: Isolation).
These short films were, thankfully, very much my cup of tea, even though I didn’t love them all. They’re all small vignettes about working-class people trying to survive one very shitty situation after another. The basic premise is shared from film to film: xenomorph shows up, people die. But each film explores a different little corner of a much larger universe.
That said, I’d like to share my thoughts on those short films, in no particular order.
“Alone” is a fascinating premise–what would happen if a facehugger and an android are left alone together? The execution isn’t perfect, but it goes in some weird and interesting directions.
“Harvest” is a rather blunt story. Alien couldn’t be more obviously about sex, sexual violence, and pregnancy as body horror, and yet “Harvest” makes the implicit subtext explicit with the presence of a pregnant woman, with the title, and with the theme of procreation and preservation (at least through the eyes of the android). The title made the “twist” ending expected, and the flat acting and illogical actions of the party leader make it clear what she actually is all too soon.
“Specimen” is a creepy, intense survival horror set in a locked-off greenhouse. It kept me on edge throughout, the ending was satisfying, and it also introduced the idea of non-human androids. This was a cool episode and, I thought, had one of the better performances from its lead.
“Containment” is forgettable. Alien runs amok in closed quarters. Nothing we haven’t seen before. The title alludes to the crew’s efforts to keep the infestation contained when salvagers recover their escape pod. That’s…more or less the whole story right there. Much of the nuance, such as there is, comes in how the survivors react to their impending doom.
“Night Shift” is kind of fun, and the ending–with our protagonist momentarily victorious and momentarily secure in her locked-down storeroom even while a full-on alien infestation breaks out in the larger colony–is dark and fatalistic.
Finally, “Ore” is fucking amazing. The lead is an awesome, sympathetic, blue-collar hero. Tensions between management and mine workers are escalated not only by the alien but by the fact that management is actually an android company plant. The characters and their working conditions and lives are pretty central to the story being told. And the final scene, with the miners rallying together in the face of the alien threat, is incredible. If you only watch one, I’d pick this.
All told, as a series of fan films, I was impressed by the production and acting quality and the variety of stories told, even though I didn’t love every single one.