But that's not the end of being disappointed at all; there were way too many locations. I counted at least six in total, most of which had no direction in the first place.

Yes it was enjoyable but it just didn't feel like a James Bond film. As good the Daniel Craig is, his performance was cold as it should be.

It just seems as they didn't take the time to tell a better story anymore, it had a good pace as it should but with more then enough eye candy. Which is more believable which a good thing. It had its flaws and I can accept that, but what I can't accept is the writing and the weak plot line. Who ever wrote this film had no understanding of what James Bond is nor understands the writing involved.

The story is the main focus and to keep the fans happy, Bond has to keep the way he is. The retooling of this awesome franchise was good in the beginning and I'm sure that everyone that has seen this film all ready will say. It was all right.

Can any of us get a break and see a better Bond film, because this was like watching Bruce Willis putting on a thong. The ending was just as bad, we didn't get to see the exciting end as what a true band film has. It wasn't a big explosion and a scene where he says a few lines.

This film hinted for another film, which I truly hope that is better than the second attempt. I remember when the first Bond left off and that's where the second one should have begun. This newer film would have been better with a great story line and a good plot line as well.

It was the directors' fault and the writers that rushed this film way too much. Hell I could write a better film script than this loser. Anyway, I did enjoy it and I sure do hope the third in the trilogy is a whole lot better.

Whilst choosing to disregard anything to do with the “Newborn” creature and “Ripley 8” in Alien Resurrection as being a worthy addition to the franchise, and its attempt to outline a bond between human and Xenomorph; I prefer to investigate the connection between antagonist and protagonist beginning with the first movie.

H.R. Giger's refinement of the surreal Necronom IV lithograph, with the help of director Ridley Scott, portrayed the beauty and sexual overtones of the creature within the first film. It's loud hissing, provocative grin, and drooling fluids, had significant cultural impact upon its human predecessors.

Ripley's personal encounters with the alien, particularly towards the climax of the first movie, are almost erotic in places. As the viewer sees the protagonist strip down to her underwear, it is at that moment that the seemingly neglected alien creature springs out of hiding to intimidate Ripley further. The slow building tension between the female human and Xenomorph during this scene are evident when Ripley's respiratory levels increase, and her violent screams result from the advance off the alien towards her.

The alien's combination of sexually evocative physical and behavioral characteristics are guilty of being seductive when in the presence of the human being. Indeed, much of the Alien's looks and life cycle can be seen as a perverse sexual metaphor. The snapping metallic teeth are almost like the castrating vagina dentata, according to critic Ximena Gollardo, and are deliberate in design for creating an organic killing machine.

During the famous scene, where the chestburster explodes through Kane's ribcage on Nostromo, there is a distinct connection between sex and death. On first contact with the species, Kane had been subdued and made pregnant by the facehugger from the egg, and later on the embryo had developed and escaped via its host. It is a nightmare for the viewer to see the male gender desemated via the birth of another species in such a fashion. Indeed, when the ovomorph succeeded in planting the embryo, it was via the method of sexual assault.

Undoubtably, there is a blurring of human sexual dichotomy here. At the time Alien was released, Sigourney Weaver, who played Ripley, was a little known actress, and it was somewhat surprising for a film audience to see such a horrifying plot develop, with Ripley being the last remaining (female) character. Contrasting to Dallas, who was the more familiar lead role of the film, yet becomes one of the early captures of the Xenomorph along with Kane; then is later seen cocooned and helpess, being used as a host for the implantation process within the nest of the alien.

In this sense Ripley's role is challenging the ideology of gender stereotypes: she is the only (female) survivor of the Nostromo crew, and overhauls the threat of the Xenomorph and its propagation, ultimately by herself.

The breakthrough feminist themes about women in combat made Sigourney Weaver a cinematic icon. The “Female Action Hero” was a rare title given to actresses in the days of Alien, and it wasn't till the reprisal of Sarah Connor in Terminator 2, that Ellen Ripley had any serious (human) competition.

The Iconic lone figure with a flame-thrower has been accepted and celebrated as pure cinematic magic, where Ripley, the heroine, triumphs over the alien species. Her strength and will to carry on through the suffering of her deceased crew makes her worthwhile to the female gender, yet truly iconic to the human race.

Furthermore, Ripley's character role is made significant by challenging the ideals of science with a human angle: it is her common sense, emotion, and will to survive that relates her to the best of us.

If only the crew would've listened to Ripley citing quarantine protocol; there would have been no knowledge of the extraterrestrial life form, and humanity would be safe from its threat (at least for the time being). Her attempts at persuading Science Office Ash and Dallas to get rid of the facehugger were also blatantly ignored.
The casting of Jones, the cat, is notable for influencing further Ripley's personality on screen. Despite being stalked by the alien, and with the self-destruct sequence of Nostromo rapidly counting down, Ripley is still desperate to get Jones out of there, under her wing, safely, after the crew has been completely diminished.

It is such characteristics that allow Ripley's role to overshadow even that of the alien, which is quite extraordinary, especially given that the title of the movie refers to the antagonist. Although the alien is most certainly billed as the “Perfect Organism”, leaving the audience intrigued to find out more about this highly aggressive, unfamiliar, extraterrestrial life form, it is the story of Ellen Ripley that keeps faith in human existence, and inspires further installments of the franchise.

Admittedly, I've had numerous nightmares of the chestburster ripping through my own rib cage, and I remain quite cynical when I hear about humanity's attempts to explore other species in space. I'm not paranoid (much), but you have to remember that “Science-Fiction” is an oxymoron, and a contradiction within itself.

Giger's obscene; insectoid form was not a result of evolution, but deliberate design. The vaguely human features of the Xenomorph, with its skeletal, biomechanical appearance, may well be the most perfectly formed organism we've have ever seen. Its erotic nature of reproduction- "an interspecies rape" according to O'Bannon -has haunted audiences for years, whilst the term "We are not alone" has rung through many of our minds.
Ripley not only installs pride within women, but gives faith to the whole of humanity's explorations, on film. In fact, it isn't till the 3rd instalment in the franchise that we learn Ripley has finally been “caught'”, and impregnated by the aliens; even then she was asleep when the attack took place.

Ripley fully deserves her rank as the 8th greatest hero in American Cinema History, at the very least; while Scott's Alien masterpiece must remain as one of the most significant sci-fi films of all time; with the award for the most grotesque surrealist artist going to H.R. Giger. Undoubtedly.