Les races Alien et Predator en guerre descendent sur une ville rurale du Colorado, où les résidents sans méfiance doivent s'unir pour rester en vie.Les races Alien et Predator en guerre descendent sur une ville rurale du Colorado, où les résidents sans méfiance doivent s'unir pour rester en vie.Les races Alien et Predator en guerre descendent sur une ville rurale du Colorado, où les résidents sans méfiance doivent s'unir pour rester en vie.
- Réalisation
- Scénaristes
- Vedettes
- Prix
- 5 nominations au total
Shareeka Epps
- Kendra
- (uncredited)
Michal Suchánek
- Nick
- (as Michal Suchanek)
Sommaire
Reviewers say 'Aliens vs. Predator: Requiem' is a divisive film with intense action, gore, and creature effects, praised for its homage to the original 'Alien' and 'Predator' movies. Improved creature designs and more violent content are highlighted, yet criticisms include dark cinematography, lack of a compelling human story, and inconsistent lore. Despite these flaws, it is seen as an entertaining addition, especially for fans of the original franchises.
Avis en vedette
But that's what I love about it. The Predator is the most bada** representation I've seen and the Predalien was bada** as well. (Skip the Human parts though, just watch the Predator/Alien story. It's not that bad)
Gleefully silly continuation of the events in "Alien vs. Predator" shows what happens as the truly monstrous "PredAlien" (veteran effects expert and creature performer Tom Woodruff Jr.) and numerous other Xenomorphs run amok in a remote Colorado town. While a great many of the local citizens are victimized, a select few come together and struggle to make it to safety. Meanwhile, a solitary Predator (Ian Whyte) comes to town to handle the infestation in its own way.
This movie is basically to its predecessor what "Aliens" was to "Alien", as it concentrates first and foremost on action and pace. Most of the human characters are not worth your time, although it's wonderful to see '24' babe Reiko Aylesworth as an ass kicking Ripley type character, a soldier just returned from Iraq. A fair amount of the dialogue is pretty bad, as well. But there is entertainment value for some viewers, provided that they can just put their brains in neutral. There's tons of violence - granted, there's the expected use of modern digital gore. The most interesting aspect for some in the audience will be the take no prisoners approach utilized by screenwriter Shane Salerno and directors Colin & Greg Strause. They pretty much treat the scenario as open season on many of the characters - including children. This will either delight or disgust viewers. The unqualified highlight - or absolute low point, depending on ones' sensibilities - is the ultra creepy maternity ward sequence.
This viewer's not ashamed to admit that he digs this entry a fair bit, although he can understand why people would be inclined to dislike it. Certainly, the major bone of contention for a lot of people is cinematographer Daniel Pearls' (the original "Texas Chain Saw Massacre") very minimalist lighting.
Six out of 10.
This movie is basically to its predecessor what "Aliens" was to "Alien", as it concentrates first and foremost on action and pace. Most of the human characters are not worth your time, although it's wonderful to see '24' babe Reiko Aylesworth as an ass kicking Ripley type character, a soldier just returned from Iraq. A fair amount of the dialogue is pretty bad, as well. But there is entertainment value for some viewers, provided that they can just put their brains in neutral. There's tons of violence - granted, there's the expected use of modern digital gore. The most interesting aspect for some in the audience will be the take no prisoners approach utilized by screenwriter Shane Salerno and directors Colin & Greg Strause. They pretty much treat the scenario as open season on many of the characters - including children. This will either delight or disgust viewers. The unqualified highlight - or absolute low point, depending on ones' sensibilities - is the ultra creepy maternity ward sequence.
This viewer's not ashamed to admit that he digs this entry a fair bit, although he can understand why people would be inclined to dislike it. Certainly, the major bone of contention for a lot of people is cinematographer Daniel Pearls' (the original "Texas Chain Saw Massacre") very minimalist lighting.
Six out of 10.
This sequel to the original AVP ups the ante by going for that R-rating. There's a rapid succession of gory deaths, but the decision to film everything in darkness means we can almost never see anything too clearly.
It's not a terrible movie (sorry, I just love these movies) but the characters are very lacking in depth, and are never given any time to develop prior to being gouged or dismembered. This is one of the cruelest entries in either series if you consider some of the victims here. They now had that R-rating and were going for it! It's all edited in a way to confuse the viewer, the action moves too quickly at times. It's also the shortest movie of either series. A little more fleshing out ( no pun intended) of the characters and some lighting adjustments would have helped.
The Predalien was a brilliant idea, but I'm not sure I ever got a good look at it. I think the first AVP was better simply because the aliens were more bad ass than here, where they are less intimidating and are too easily dispatched. I guess this is the weakest link in the series overall, but I still liked most of it. I'm not that hard to please though, I'm a real ho for these movies!
It's not a terrible movie (sorry, I just love these movies) but the characters are very lacking in depth, and are never given any time to develop prior to being gouged or dismembered. This is one of the cruelest entries in either series if you consider some of the victims here. They now had that R-rating and were going for it! It's all edited in a way to confuse the viewer, the action moves too quickly at times. It's also the shortest movie of either series. A little more fleshing out ( no pun intended) of the characters and some lighting adjustments would have helped.
The Predalien was a brilliant idea, but I'm not sure I ever got a good look at it. I think the first AVP was better simply because the aliens were more bad ass than here, where they are less intimidating and are too easily dispatched. I guess this is the weakest link in the series overall, but I still liked most of it. I'm not that hard to please though, I'm a real ho for these movies!
What will it take to convince the idiots running the major Hollywood studios when to push the stop button? It's a strange time we're living in where even critically panned films are being warranted sequels now as the aim definitely seems to be making more franchises than stand- alone films & grab as much cash as possible by building on the (financial) success of the original.
Continuing the crossover of Alien & Predator series, Aliens vs. Predator: Requiem (also known as AVP:R) begins right where the first film of this newly established franchise signed off. Set in Gunnison Country where a Predator spaceship carrying a hybrid alien crashes, the film continues the war between the two iconic-but-now-turned-idiotic species with stupid humans caught in between.
Terribly directed by Brothers Strause, the movie marks a new low for any cinema that has featured either creatures so far and is an absolute trash from start to finish. Horribly written, badly photographed, tediously edited & full of dull characters (this time including the two creatures as well), there isn't one thing worth liking in this garbage throughout its runtime.
On an overall scale, continuing the recent tradition of making a mockery of all cinema classics by sequels, prequels, remakes, reboots or spin-offs, Aliens vs. Predator: Requiem is one of the most boring orgy of mindless violence whose only improvement over its already pathetic predecessor comes in its upgrade from PG-13 to R-Rated. Needs to be buried alive with whoever green- lighted it.
Continuing the crossover of Alien & Predator series, Aliens vs. Predator: Requiem (also known as AVP:R) begins right where the first film of this newly established franchise signed off. Set in Gunnison Country where a Predator spaceship carrying a hybrid alien crashes, the film continues the war between the two iconic-but-now-turned-idiotic species with stupid humans caught in between.
Terribly directed by Brothers Strause, the movie marks a new low for any cinema that has featured either creatures so far and is an absolute trash from start to finish. Horribly written, badly photographed, tediously edited & full of dull characters (this time including the two creatures as well), there isn't one thing worth liking in this garbage throughout its runtime.
On an overall scale, continuing the recent tradition of making a mockery of all cinema classics by sequels, prequels, remakes, reboots or spin-offs, Aliens vs. Predator: Requiem is one of the most boring orgy of mindless violence whose only improvement over its already pathetic predecessor comes in its upgrade from PG-13 to R-Rated. Needs to be buried alive with whoever green- lighted it.
I honestly thought that this could've been a great movie, but all of it was shot in the dark! I want to enjoy the kills and the alien and predator costumes, but I couldn't see crap, so I had to Lower the rating. If I could see what was happening, this movie would get a 9.
All 'Alien' Movies Ranked by IMDb Rating
All 'Alien' Movies Ranked by IMDb Rating
See how the Alien franchise films rank, according to IMDb user ratings.
Le saviez-vous
- AnecdotesIn one of the movie's behind-the-scenes featurettes, director of photography Daniel Pearl stated that he wanted to visually differentiate this movie from its predecessor Alien vs. Prédateur (2004), which he criticized for its use of fixed cameras, wide shots and excessively bright lighting, because in his opinion, this revealed way too much of the creatures. Reasoning that monster horror works better in dark environments with documentary-style photography, Pearl employed hand-held cameras and dimly illuminated sets to get the desired effect. Ironically, the film would later be criticized mostly for its overuse of 'shaky cam' and excessively murky lighting, with people complaining that they couldn't see much of the action.
- GaffesThere is no reason given why the main characters are not able to escape by driving away from the town.
Correction: Colonel Stevens tells Sheriff Morales that all ground routes out of town have been compromised. While he doesn't elaborate further the Army is clearly trying to seal off the area and contain the Xenomorphs, which would include keeping someone impregnated by a facehugger from getting out. Stevens' monitors show they are jamming all communications from the town: landlines, cell phones, internet plus all civilian and law enforcement radio frequencies. The government obviously doesn't want anyone learning about what happened here either, so the Army likely has all the roads blocked off to prevent anyone from leaving.
- Générique farfeluThe opening title card features many sound effects from the previous movies, such as motion tracker beeps from Aliens, and the Predator POV humming.
- Autres versionsAliens vs. Predator: Requiem was released on DVD, Blu-ray and PSP UMD Disc on April 15, 2008, in North America and May 12, 2008, in the United Kingdom by Fox Home Entertainment. It was released in three versions: a single-disc, R-rated version of the 94-minute theatrical presentation, a single-disc unrated version extended to 101 minutes and a two-disc unrated version with the 101-minute film and a second disc of special features.
- ConnexionsEdited into Dragonball - Évolution (2009)
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Détails
- Date de sortie
- Pays d’origine
- Sites officiels
- Langue
- Aussi connu sous le nom de
- Aliens vs. Predator: Requiem
- Lieux de tournage
- 2283 McAllister Avenue, Port Coquitlam, British Columbia, Canada('Pizza One' pizzeria)
- sociétés de production
- Consultez plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 40 000 000 $ US (estimation)
- Brut – États-Unis et Canada
- 41 797 066 $ US
- Fin de semaine d'ouverture – États-Unis et Canada
- 10 059 425 $ US
- 30 déc. 2007
- Brut – à l'échelle mondiale
- 130 290 885 $ US
- Durée
- 1h 34m(94 min)
- Couleur
- Mixage
- Rapport de forme
- 2.39 : 1
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