Why Pit 'Alien' Against 'Aliens' When Ripley is Great in Both?
Ripley is a great character because she serves two distinct, but rewarding, purposes in the original film and the sequel.

Set between Christmas and New Year, the film told the story of six criminals who kidnap an ambassador's daughter and await the ransom; enter Monsieur Wens, who infiltrates their hideout using various comic disguises, bumps them off one by one and rescues the little girl.
Ripley is a great character because she serves two distinct, but rewarding, purposes in the original film and the sequel.
The human experience is described through the eyes of a marginalized outsider, neither judgmental nor invested, just an observant donkey.
'Brother' is a gripping family drama with dazzling performances all around.
Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.
This little Netflix film was very inspirational. It passes the Bechdel test, and features a different worldview with rural Indian representation.
Yes, "Nope" is definitely about the modern obsession with turning tragedy and horror into a spectacle for people’s enjoyment. But it's also about the power of looking, who has the right to look, and what happens to those who are looked upon.