Tras su último encuentro, Ripley aterriza en Fiorina 161, prisión de máxima seguridad. Cuando una serie de extraños y mortales acontecimientos ocurren después de su llegada, se da cuenta de ... Leer todoTras su último encuentro, Ripley aterriza en Fiorina 161, prisión de máxima seguridad. Cuando una serie de extraños y mortales acontecimientos ocurren después de su llegada, se da cuenta de que ha traído consigo a un visitante no deseado.Tras su último encuentro, Ripley aterriza en Fiorina 161, prisión de máxima seguridad. Cuando una serie de extraños y mortales acontecimientos ocurren después de su llegada, se da cuenta de que ha traído consigo a un visitante no deseado.
- Nominado para 1 premio Óscar
- 5 premios y 25 nominaciones en total
Christopher Fairbank
- Murphy
- (as Chris Fairbank)
Argumento
¿Sabías que...?
- CuriosidadesAt one point, David Fincher was denied permission by the film's producers to shoot a crucial scene in the infirmary between Ripley and the Alien, where the latter menacingly closes in on Ripley. Against orders, Fincher grabbed Sigourney Weaver, a camera and shot the scene anyway. This scene not only appears in the final cut, but also featured prominently in trailers, and many regard it as the movie's most iconic shot.
- Pifias(at around 1 min) There is no logical explanation for how the Alien egg appears on the Sulaco at the beginning of the film. Although it has been speculated that the Queen Alien laid the egg when she was hiding in the landing gear of the drop ship, the Alien Egg is clearly not inside the landing gear after it has hatched. It appears to be somewhere either inside the drop ship or elsewhere in the Sulaco. Since Queen Alien was never in the interior compartment of the dropship and certainly never made past the cargo bay of the Sulaco, there is no explanation for how the egg got where it is.
- Citas
Dillon: Why? Why are the innocent punished? Why the sacrifice? Why the pain? There aren't any promises. Nothing certain. Only that some get called, some get saved. She won't ever know the hardship and grief for those of us left behind. We commit these bodies to the void with a glad heart. For within each seed, there is a promise of a flower, and within each death, no matter how small, there's always a new life. A new beginning. Amen.
- Créditos adicionalesThe 20th Century Fox fanfare freezes and turns ominous, leading into the film's opening scene.
- Versiones alternativasIn Dec. 2003, the 'Alien Quadrilogy' box set was released with a newly created cut of "Alien 3" entitled the Assembly Cut. It attempts to reconstruct David Fincher's workprint (which the studio balked at), but goes one step further and adds color correction, additional special effects and remixed 5.1 sound. Several scenes, however, suffer from poor on-set audio quality, mostly due to the use of fog machines and steam which obscures on-set dialog. Due to time and budget constraints, there was no time to re-record the dialogue for these scenes; optional subtitles transcript the dialog. It should be noted that the October 2010 "Alien Anthology" Blu-ray box set features the same Assembly Cut as the 2003 DVD set. However, this time additional dialogue has been recorded, creating a soundtrack of more consistent quality, and making the addition of the deleted scenes all but seamless. Here are all of the changes found in the Assembly Cut:
- The scene of Ripley being rescued at the beginning is completely different. She is seen by Clemens (Charles Dance) lying washed up on the beach and then taken into the prison, covered in dirt. A group of prisoners heads down to the beach with Oxen to get the EEV out of the water. In the theatrical print Ripley is discovered still inside her cryogenic unit inside the escape pod. This scene was re-shot to have footage of the dog (more on that later), and has no Oxen or scenes mentioned above. Various shots of people examining the escape pod that were in the theatrical print (as stated, they were taken from re-shoots made during post-production), including a shot of a facehugger crawling towards the dog and an elaborate optical shot of the EEV being carried out of the water by a crane (in the assembly cut it crashed right next to the shore), are missing from the DVD workprint.
- Immediately following the rescue sequence, 85 tells everyone in the mess hall to settle down, and Dillon preaches before Andrews' first "rumor control." The theatrical version started the scene directly with Andrews' rumor control.
- Just before the autopsy of Newt, there is a scene with Clemens, Ripley, and Prisoner Kevin walking down the spiral stairs into the morgue where Clemens questions Ripley about her need to certain Newt's death and also asks her if Newt was her daughter. Ripley denies this.
- As stated above, the alien comes out of an ox instead of a dog. There is a scene where two inmates are dragging an ox named Babe after it has suddenly dropped dead into the butchery. They discuss what caused Babe's death, and they have some macho talk about Ripley. The scene ends when one of the inmates discovers a strange dead animal next to the ox's corpse (which is a dead Super facehugger). This scene replaces the scene in the theatrical cut where Murphy finds his wounded dog.
- The funeral scene is now intercut with scenes of the infant Alien bursting from the dead ox (originally it came out of the dog), concluding with a newly made digital shot of the Alien making its first steps and running off.
- Just before Ripley enters the mess hall with her newly shaved head after the funeral, Prisoners Boggs and Rains share their complaints to Dillon about Prisoner Golic. They say he is crazy and smells bad, and that they don't want to work with him in the tunnels. Dillon tells them Golic is their brother and they should stop complaining.
- The scene in which Ripley and Dillon talk about temptations in the cafeteria ends on a shot of Dillon, where it originally ended on Ripley.
- Following Murphy's death, there is more dialog between Ripley and Clemens about why they had to cremate the bodies.
- Right after the scene where Ripley asks Clemens where the Bishop droid is, there is a scene where Dillon sees Boggs, Rains, and Golic, off on their excursion into the tunnels. Dillon asks them to light a candle for the dead prisoner Murphy (the first victim in the vent shaft). They go off into the tunnel.
- Immediately following this is the scene where Warden Andrews and Clemens meet to discuss Ripley. It has a completely new beginning where Andrews starts off as rather friendly, until he suddenly starts threatening Clemens (this is where the theatrical version began). The scene extends beyond Andrews telling Clemens to "sit the hell down", with additional dialog of Andrews voicing his displeasure with Clemens, and asking about Ripley; Clemens only knows that she was part of a combat team that was wiped out; Andrews eventually just tells Clemens to get out.
- Golic kicks open an old cigarette machine in the tunnel to get free cigarette packs.
- During Ripley's conversation with the reconnected Bishop, there are intercut scenes of a crazed and bloody Golic being found in the mess hall by Eric, the cook, who panics and drops the dishes. A little bit later, Golic is grabbed by the others (Clemens, 85, Andrews, and Dillon), put in a restraining jacket and dragged to the infirmary.
- The scene following Andrews' talk with Ripley about the alien (where Ripley and Clemens talk) has a new opening shot in which the camera begins with a medium shot of Golic, then tracks through the hospital room. Later on in the scene, a tied up Golic interrupts with a few lines about how in an insane world, an sane man must appear to be insane; Clemens sarcastically thanks him. Golic spies on Ripley and Clemens talking by looking under the curtain. The alien drops from the air vent into the infirmary and lands on the mattress next to him causing it to 'lower'. There are more shots of it approaching, and Ripley sees it's feet through the bottom of the curtains. There is also a shot of the alien opening its mouth before killing Clemens. After the alien kills Clemens, and Ripley runs out of the infirmary, there is a close-up of Golic admiring the alien, he calls it "magnificent." Followed by a shot of a large amount of blood dripping from the grate through which Clemens was hauled by the Alien (just after Ripley takes off for the dining hall).
- In the mess hall, Dillon leads a prayer and then chastises the prisoners for what has been going on (such as the attempted rape of Ripley and the death of Murphy, Boggs, and Rains) as Ripley runs down the hallway. Andrews takes over with a sarcastic "Thank you" and the scene goes on as originally shown.
- A new shot where the prisoner mopping up Andrews' blood. He looks up at the air vent (an overhead shot). This is immediately followed by a new scene where Dillon preaches to the prisoners after Andrews' death.
- In the same scene after Morse says they should take Ripley's head and "bash it through the fucking wall," Ripley replies "That sounds good to me..."
- There are several extra shots in the scene where the inmates set the trap in the tunnel (almost a minute's worth), including one with two inmates checking a pile of batteries, to see if there are some with enough electricity for Aaron's flashlight to work. Ripley looks exhausted while on paintbrush detail and shrugs it off, Dillon shows concern.
- As the explosions in the corridors are going off, there are several new shots of prisoners in the air vents engulfed in the flames and falling out of the vents on fire, as well as 85 running away from a burning prisoner. Dillon tries to activate the sprinkler to no effect (the sprinkler goes off in the theatrical version, and the scene ends right there). One of the prisoners is hurt badly and Ripley is trying to help him. The prisoner's friend Junior (the guy with the tear tattoo who initially attacks Ripley in the attempted rape scene) looks fearfully at her as she realizes both of them attacked her. The group runs for the spare sprinkler activator. The alien crawls down from the ceiling as the others (including Ripley and Dillon) try to lure it away. Junior is near the Toxic Waste room and sees a chance to trap the alien and runs into the room, luring the alien in after him and sacrificing his life. Ripley and Dillon lock the doors and the sounds of the alien killing him are heard outside. Dillon turns on the sprinklers.
- After finally putting out the fires, there are several new shots in the montages of prisoners walking through the wreckage of the hallways, and a scene where Dillon is leading a prayer for those who sacrificed themselves and died. Ripley and 85 look in from above and begin to discuss religion. 85 says that the company will arrive to kill the trapped alien with smart guns. Ripley asks him what to do if they won't kill it.
- Immediately following this, there is a scene where Morse is guarding the still bound Golic in the infirmary. Golic asks Morse to untie him, since his involvement in the killing of Boggs and Rains is no longer an issue. Morse reluctantly unties him, and after Golic asks him, tells him where the alien is trapped. Golic knocks him out and hurries out of the room.
- Next, there is a scene where 85 and Ripley are sending a transmission to the company about the trapped alien and Ripley, testing the company's intentions, requests permission to terminate the alien. The company quickly replies they are not to do anything against the alien, confirming Ripley's suspicions.
- Golic then arrives at the Toxic waste dump and tells the prisoner guarding the door he must talk to the creature. The prisoner shrugs him off and suddenly Golic slits his throat and opens the door, telling the alien he'll do anything he wants. Golic's screams as the alien attacks and runs away.
- Ripley then tells Dillon about the company's plans to keep the alien alive, which might jeopardize the entire universe. Dillon says he doesn't care about the rest of the universe. Ripley insists that innocent people will die and Dillon tells her that the world outside does not exist for them. Morse rushes in and tells them he has bad news.
- Ripley, Dillon, Morse and 85 go to the dump where 85 blames Morse for the insane Golic's actions. Some of the latter scene was re-edited to make it follow the explosion sequence in the theatrical cut.
- A new scene in the assembly hall, after Ripley discovers she carries an Alien: the prisoners are arguing about the course of action to be taken; now that the Alien is free again, there is nothing stopping it from attacking them anywhere in the complex. One of the prisoners lights a match for his cigarette, which reminds all others of the Alien's fear of fire. They all decide to move to the furnace area immediately (which explains why Dillon's following "pep talk" takes place there).
- When Ripley and 85 argue about contacting the company there is some extra dialog at the end of the scene of Ripley telling him she is going to locate the alien.
- There is some added dialog in the scene where Ripley tells Dillon about the Queen inside of her, mainly about the nature of the Queen and the consequences of its survival. Also, when Ripley fights with Dillon after he refuses to kill her, there is an added line where Dillon says "Go kill yourself."
- During the scene where the remaining prisoners are meeting to discuss Dillon and Ripley's plan to terminate the alien, there are expanded dialog scenes concerning Dillon telling them they have a choice to get even with the creature for its destroying the others. Ripley then questions 85's statements that the rescue team is on its way.
- Some of the prisoners discuss religion before the tunnel sequence (right after Dillon says they are "Praying"). They laugh hysterically, which freaks out David (Pete Postlethwaite). This replaces a scene where David is told by another prisoner named Jude what he's supposed to do. Jude leaves and David says to himself, "This was her idea."
- Following this, there is a shot cut OUT of the assembly cut of 85 waiting for the rescue team.
- David (Pete Postlethwaite) finds Vincent's body in the tunnel.
- As the alien rampages through the tunnel, Ripley asks what the prisoners are doing (when two of them are guarding the piston run off) and Dillon says "Improvising".
- There is more dialog when Bishop II confronts Ripley as he refers to the malignancy inside her and the great courage she has shown.
- There is also an added scene where the Asian medic explains the procedure to remove the alien from Ripley. When Bishop II asks Ripley to trust him and she must choose, the scene is more drawn out, and you can see Ripley agonizing more over the decision she must make.
- When 85 hits Bishop II with the pipe there is an additional moment in which Bishop II can be seen in pain and wiping red blood from his face, adding more weight to his statement that he is indeed human and not an android. He shouts "I'm not a droid!" After this, Bishop sees one of his crew-members with a camera trying to film Ripley, and he tells the man with the camera, "No pictures!"
- Several shots of Ripley preparing for her jump, as she looks hesitant and nervous. She looks at Bishop and says "You're crazy" right before she jumps.
- Ripley's death scene is a completely alternate take: In the theatrical version, as Ripley falls, the alien queen burst out of her chest, here she simply falls into the lead. Her body can be seen burning up just before it hits the lead.
- ConexionesEdited into The Making of 'Alien³' (2003)
- Banda sonoraIn the Year 2525 (Exordium and Terminus)
Written by Rick Evans
Performed by Christopher Fairbank (uncredited)
Reseña destacada
Intrigue. In Alien, the characters don't know what they're getting into and the only reason the audience knows is because 1. The trailers, 2. the Title and 3. by now everyone knows the reputation of the film . . . and it was good. In Aliens the characters know the creature, and declare war neglecting to calculate the possible numbers they face . . . and it was good. In Alien 3 we get a prison. "But they're not prepared! That's the intrigue," you say to which I would answer, "If they were prepared there *couldn't* be a film. They'd take out the Alien in 10 minutes."
Alien 3 just cannot compete with its predecessors. The film is 'okay' and it's up against two of the most influential sci-fi horror films by Ridley Scott (the director with the slickest style) and James Cameran (one of the best action directors) scores composed by the legendary Goldsmith and Horner. . . Alien 3 has David Fincher and Elliot Goldenthal. Fincher is a good director, but outclassed by Scott & Cameran; Goldenthall has yet to impress me with one of his scores, and has yet to not annoy me with one of his "sequel" scores (Batman Forever & Batman & Robin come to mind).
The uninteresting premise of the film, the uninteresting setting, uninteresting characters, uninteresting story in the end just kill the film.
More effort seemed to go into shaving Weaver's head than making the script good. And, I'm sorry, but the handful of well crafted scenes where Ripley is emotionally torn, or faces a difficult decision--the whole 3 scenes in the film what have a valid 'deeper meaning' does not save the 90% of the film that is boring and stale.
Many people found the jump from Aliens to Alien 3, the return to one alien and the fate of the survivors from Aliens unforgivable. I'm somewhat torn--I don't mind such things happening if the new route is good. The route chosen for Alien 3 was mediocre, and so the break from its predecessors did come across more disappointing. Change is not always good; change for the sake of change is typically bad. Alien 3 is a good example of this.
In the end, all of the elements of the film are mediocre to good with the exception of the script which did not live up to standards. Hence, the film is overall just "okay." But after the caliber of its predecessors, Alien 3 really is a disappointment in terms of quality.
Alien 3 just cannot compete with its predecessors. The film is 'okay' and it's up against two of the most influential sci-fi horror films by Ridley Scott (the director with the slickest style) and James Cameran (one of the best action directors) scores composed by the legendary Goldsmith and Horner. . . Alien 3 has David Fincher and Elliot Goldenthal. Fincher is a good director, but outclassed by Scott & Cameran; Goldenthall has yet to impress me with one of his scores, and has yet to not annoy me with one of his "sequel" scores (Batman Forever & Batman & Robin come to mind).
The uninteresting premise of the film, the uninteresting setting, uninteresting characters, uninteresting story in the end just kill the film.
More effort seemed to go into shaving Weaver's head than making the script good. And, I'm sorry, but the handful of well crafted scenes where Ripley is emotionally torn, or faces a difficult decision--the whole 3 scenes in the film what have a valid 'deeper meaning' does not save the 90% of the film that is boring and stale.
Many people found the jump from Aliens to Alien 3, the return to one alien and the fate of the survivors from Aliens unforgivable. I'm somewhat torn--I don't mind such things happening if the new route is good. The route chosen for Alien 3 was mediocre, and so the break from its predecessors did come across more disappointing. Change is not always good; change for the sake of change is typically bad. Alien 3 is a good example of this.
In the end, all of the elements of the film are mediocre to good with the exception of the script which did not live up to standards. Hence, the film is overall just "okay." But after the caliber of its predecessors, Alien 3 really is a disappointment in terms of quality.
- jaywolfenstien
- 16 nov 2002
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Detalles
- Fecha de lanzamiento
- Países de origen
- Sitios oficiales
- Idioma
- Títulos en diferentes países
- Осми путник 3
- Localizaciones del rodaje
- Blyth Power Station, Northumberland, Inglaterra, Reino Unido(back ground filming)
- Empresas productoras
- Ver más compañías en los créditos en IMDbPro
Taquilla
- Presupuesto
- 50.000.000 US$ (estimación)
- Recaudación en Estados Unidos y Canadá
- 55.473.545 US$
- Fin de semana de estreno en EE. UU. y Canadá
- 19.449.867 US$
- 24 may 1992
- Recaudación en todo el mundo
- 159.814.498 US$
- Duración1 hora 54 minutos
- Color
- Relación de aspecto
- 2.39 : 1
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