Notes by: Adam Harper
Date: 12th August 2024
Writer(s): James Cameron
Pages: 105
Genre: Science Fiction
Score Card
| Plot | Characters | Tone | Writing | |
|---|---|---|---|---|
| Score | 4 | 3.5 | 3.5 | 4 |
Overall Score: 4
Plot Analysis
Cameron kicks things off with a bang—literally. The explosive dream sequence at the start is like a horror-movie wake-up call, ensuring we’re strapped in for a ride that won’t let us relax. Then we’re smoothly segued into the exposition, situating us in the timeline after the first film. It’s all very “previously on Alien,” but it works, setting the stage for Ripley’s return to the lion’s den. And let’s face it, this woman has no family, no purpose, and yet she’s the only one convinced that the alien threat is real. Talk about peer pressure.
The inciting incident might not blow your socks off visually—it’s more of a plot trigger than a spectacle. But that’s okay. As a sequel, Aliens relies on the audience’s trust that the action is coming. And when it does, boy does it deliver. The stakes? Survival, of course, with Newt as the personified representation of everything Ripley’s already lost. By the midpoint, when the proverbial poop hits the fan, we’re knee-deep in tension. The characters’ poor decisions lock them into a nightmare scenario where fighting for their lives is the only option.
And then there’s Burke. Oh, Burke. It’s not the aliens that are the true antagonists here; it’s this guy with his corporate greed and zero ethics. He’s the slimy face of a much bigger issue, contrasting sharply with Ripley’s survival mission. Cameron wisely ramps up the horror by multiplying the number of aliens, but keeps the Queen hidden until the last act, holding back just enough for maximum impact.
The final act is a masterclass in brevity. The showdown ends, the Queen is (mostly) dispatched, and we get a couple of sweet moments between Ripley, Bishop, and Newt before the credits roll. Just enough to catch our breath. And in a poetic nod to the first film, Ripley upgrades from rescuing a cat to rescuing a child. What’s next? Saving an entire planet?
Character Analysis
Ripley is our clear protagonist, but she’s not in this alone. She’s part of a crew, giving the film a bit of an ensemble feel. Her motivations are crystal clear: she’s driven by loss—her daughter, her purpose—and the fact that no one else seems to grasp the danger of these aliens. But does Ripley change much? Not really. She’s more of an action hero than a character undergoing deep personal growth. She’s ready to fight, no questions asked.
The aliens? Sure, they’re antagonists, but they’re not the real villain. That title goes to Burke. He’s one of the best bad guys out there, not because he looks evil, but because he embodies corporate malfeasance and human greed. His manipulation is top-notch villainy, so much so that it’s hard not to hate him—and love how much you hate him. If did read some potentially fake clickbait that his mother despised his character and simply said ‘good’ when he was killed.
The supporting characters do their job, but they’re a bit cliché. If this were straight horror, we’d expect it, but as a sci-fi, there’s a sense they could’ve been a tad more developed. That said, they serve the narrative, even if we don’t feel much empathy for them. It might have made the action hit harder, but it doesn’t derail the story.
Tone Analysis
Cameron’s sequel retains the moody, claustrophobic vibe of the original but cranks it up to eleven—because that’s what he does best. The script has a gritty, no-frills atmosphere that perfectly sets the tone for what’s to come. It’s both sci-fi and horror, and perhaps more horror this time around. There’s always that lurking dread that something bad is about to happen—usually right before it does.
The dialogue, on the other hand, is hit or miss. Some of it’s pretty clichéd, a product of its 80s origins. It’s the kind of cheesy action dialogue that might make you cringe today, but it’s also a hallmark of the era, so it gets a pass. And let’s be real—seeing Ripley as a kick-ass female action hero is still inspiring. Cameron sets a benchmark here for anyone wanting to write a strong female lead. He takes what was established in the first film and elevates it, which should motivate writers to keep pushing their own characters, themes, and narratives to new heights.
Writing Analysis
Yes, there are some unfilmables in this script, but when you’re the writer and the director, you get to bend the rules. Case in point: lines like “let’s get one thing straight… Ripley can be one tough lady. But the terror, the loss, the emptiness are, in this moment, overwhelming.” Cameron can get away with it because he knows exactly how he’s going to shoot it.
There are also a few instances of shot direction sprinkled throughout, but they don’t detract from the overall reading experience. The formatting includes underlined words instead of italics for emphasis, which actually works quite well—better than italics, in my opinion, because it draws your eye right to what’s important.
Capitalized action prompts are used sparingly but effectively, signalling crucial moments or props in the action. And yes, there are some typos, but let’s cut Cameron some slack here—it was probably written on a typewriter, and they don’t ruin the experience.
If I had to nit-pick, I’d say some of the action scenes didn’t completely draw me in. I found myself skimming through a few blocks of action text, which might be a symptom of Cameron’s lean writing style. Page 80, for instance, is a massive chunk of action lines—should we be concerned? Probably not. The film got made, after all. Same goes for page 89, which is another action overload. But despite these minor gripes, Cameron does a solid job of maintaining suspense without getting too wordy. As the action thickens, the dialogue naturally takes a backseat, making the latter part of the script very action-heavy.
Summary / Feedback
It’s been a while since I’ve seen the film, so I can’t speak to any discrepancies between the script and the final product. But that’s not the point—I’m evaluating the script as a standalone piece. And as a piece of writing, it’s a damn enjoyable read. Cameron wisely avoids overloading us with set design and world-building details, keeping the script slick and focused on what really matters. This is a good reminder for all writers: stick to what’s important for your story, and resist the urge to over-describe.
Sure, it’s a long script for a blend of action, sci-fi, and horror, but it never sags. The writing is strong, the story is strong, and even if I didn’t feel much empathy for some of the characters, the payoff of a longer script is a more satisfying ending. One last thing—there’s a mention of a “biomechanical lattice” in the script that made me kind of hungry. Note to self: don’t read scripts while waiting for lunch.