The Science Fiction Horror and Fantasy Film Review
Alien invasion refers to stories about Earth being invaded by beings from elsewhere in the universe. Alien invasion can be in vast and overwhelming force that rains down mass destruction, or else it can be a small beachhead in an isolated locale, an insidious infiltration of the corridors of power, or psychological in nature. Aliens themselves can range from all manner of forms from humanoid to non-human, from Monsters and Robots to biological threats.
The genre began on the literary page with H.G. Wells’ classic The War of the Worlds (1898), which defined the essential tropes of humanity being crushed by an overwhelming force majeure from space, the struggle for survival and attempts to fight back.
The first screen alien invaders appeared in Serials of the 1940s but these were little more than mundane gangsters. The great alien invader era of the 1950s began with The Thing from Another World (1951), which offered a sole alien monster amok in an Arctic base. The genre was kicked into high gear with George Pal’s modernised adaptation of The War of the Worlds (1953). This was followed by a deluge of alien invasion films, which became one of the predominant themes of the 1950s Golden Age of Science-Fiction in Hollywood and to a lesser extent the UK.
Some of the best alien invader films of the era were various Body Snatchers films beginning with It Came from Outer Space (1953) and including the classic Invasion of the Body Snatchers (1956) wherein aliens came to steal human bodies or control minds, representing a paranoid, insidious threat that came from within, stealing all semblance of humanity but for the emotions.
The alien invader was always a stand in for anxiety about the unknown, in some cases the aliens standing in for fears of the existential threat offered by the Soviet Union and Communism. This began to change in the 1960s with tv shows like The Twilight Zone (1959-63) and Star Trek (1966-9) showing that things were sometimes more subtle and ambiguous than we thought at first glance. By the 1980s with the success of films like Star Wars (1977) and E.T. – The Extra-Terrestrial (1982), the alien was cute, cuddly or just an ugly mug in a bar.
The popularity of the alien invader fad died away by the end of the 1950s, although still produced copies for many years after. The genre underwent a revival in the 1970s/80s SF boom, which saw remakes of a number of 1950s works as well as a series of Deliberately Bad Films and Films With Deliberately Ridiculous Titles that spoofed the titles, cheesiness and technical shortcomings of the earlier films.
In the 1990s, Independence Day (1996), brought a revival of the alien invasion genre conducted with big budget displays of Mass Destruction. TV’s The X Files (1996-2002) bought a revival of paranoia themes and fear of infiltration by body snatchers and others.
The alien invasion film of the 2000s onwards has seen new directions in terms of the Found Footage Film or Young Adult works. The greater ease and availability of CGI effects has produced a number of low and medium budget works. These tend to be low-key in scale and/or focused on survival during an invasion.
This falls short of being a great science-fiction film by a hairs breadth. Not the big space/action film it was sold as, more a Philip K. Dickian conceptual breakthrough film that seems to have borrowed large chunks of its set-up from Moon
Soldiers in the middle of a warzone are abducted by aliens and wake up aboard an alien facility. An interesting set up that dissolves into massive amounts of artillery fire and action
Giant mecha robots beating the crap out of giant monsters – what’s not to like? In comparison to the Transformers films, Guillermo Del Toro looks to find the soul of the robot jock – in essence, Transformers for grown-ups
The third of Don Soscarelli’s Phantasm films reunites many of the regulars and goes some way towards offering explanations for everything
This has a certain cuteness to its premise – of seeing a bunch of classic videogames brought to life. Beyond that, Pixels is a one gimmick film that suffers from two people whose films I hate – the perpetually banal Chris Columbus and the irritatingly smug presence of Adam Sandler
This offers the bizarre novelty of being the version of Plan 9 from Outer Space that Ed Wood would have wanted make if he had a decent budget. Surprisingly enough this is played straight, although you question whether what Wood was trying to make was a modern zombie film
This has become legendary as the Worst Film Ever Made. Maybe it is but the audience that celebrates its technical gaffes, the purple prose and bizarre bheind-the-scenes stories has contrarily made it one of cultish fascination
A one-gag animated film that essentially reverses the plot of E.T, and has a human astronaut stranded on a planet of aliens and adopted by one boy. More likeable than it has a right to be.
Anime that has clearly been modelled along the lines of Neon Genesis Evangelion Initially, the animation is conducted with a dazzlingly realistic textured look but once the giant robot action scenes take over, these seem increasingly absurd in their anthropomorphism
An interesting and unusual film where teens attending a house party find that it has been invaded by doppelgangers of themselves who are taking over their lives
Japanese film about a superhero defending Earth against alien invaders that travels into incredibly bad movie stakes with its painfully cheap effects and frequent dialogue howlers
This adaptation of the Robert Heinlein novel was not a success when it came out but is a modest addition to the alien body snatchers genre with some undeniably effective moments
The second of the Quatermass films. An alien body snatchers tale that suggests even the British government has been infiltrated. This is regarded by many as the best of the series
A remake of the first Quatermass story conducted as a live broadcast tv movie. Quite a considerable technical achievement considering the limitations and one that works with quite reasonable results
The first of the Quatermass films and the first major genre hit for Hammer Films. Nigel Kneale creates a literate work of science-fiction horror about a returned astronaut mutating after exposure to an alien fungus
An uncommonly effective film that takes place in the aftermath of an invasion by creatures with ultra-sensitive hearing where the survivors must maintain an existence that requires not making the slightest sound. Director (also lead actor) John Krasinski uses the set-up to create unbearable tension
The third in the trilogy of A Quiet Place films, this is a prequel that takes us back to the start of the invasion
The first A Quiet Place was No 1 on this site’s Best of 2018 list. John Krasinski still pulls off great set-pieces a second time but reveals the pitfalls of trying to extrude a premise to make a sequel
The second of the Rocket Man serials in which Commando Cody faces invaders from the Moon. This comes with the creative impoverishment of serials where the alien invaders are no more than regular gangsters.
A film that comes with a lame premise about aliens distributing a video of a 1950s SF film that turns people into mind-controlled killers all as prelude to an invasion
Japanese SF film that makes a rather enjoyable magpie collage out of a Terminator time travel action plot married to John Woo and Matrix action stylistics
Excruciating and painfully unfunny attempt to make a deliberately bad SF film with alien vixens attempting to take over a high school
Modestly effective film with an amnesiac soldier trying to make his way across Africa in the aftermath of an alien invasion. Featuring some fine and well staged effects
McG, one of the more empty-headed of modern mainstream directors, makes a big effects-heavy, Young Adult alien invasion film, a genre that has never enjoyed any success. To no surprise, this did not either
The Teenage Mutant Ninja Turtles are resurrected in a new animated film that feels like a watered-down fix designed for Ritalin-deprived youth
Interestingly mysterious film about the investigation into a zone affected by an alien meteorite
One of the earliest works from Katsuhiro Otomo, the cult director of Akira, although he only contributes one episode to an anthology of anime tales with the common theme of robots. The collection contains some impressive and visually striking episodes
One of the most entertaining bad movies ever made, an alien invader film featuring the famous Ro-Man, a gorilla suit with a diving helmet
While the title sounds like a cheesy faux B movie, this a surprisingly serious work. Taking undeniable influence from tv’s The Tripods , it is a YA work about the fight to free Earth following a machine invasion that proves far more entertaining than anything one expects of it
Alien invasion film set around the so-called Roswell Incident. Faux science-fiction written by cliche the entire way
In this rather shabby effort, Santo (in the sixteenth of his 52 films) takes on invaders from Mars whose entire plan seems to hang on the need to have to defeat Santo in the wrestling ring
A bizarre South Korean comedy about a businessman who is imprisoned by a possibly crazed man who insists that he is an alien. Things sit in an absurdly funny ambiguity. Later remade by Yorgos Lanthimos as Bugonia
Comedy that comes comes with a winning concept – clueless hipsters try to get away from their social media devices for a weekend only to find the Earth has been invaded by aliens
David Zucker takes over the reins of the franchise from the Wayans Brothers. With a lack of big scary movies in 2002 to parody, the film takes a scattershot approach, parodying any film at all
Fourth of the Scary Movie films and the usual crude inanity, although under David Zucker the movie parodies have expanded well beyond what can be labelled scary movies any longer
Low-budget and fairly indifferently made sequel to David Twohy’s quite good alien invasion film
Full Moon Entertainment produce a cheapo B-budget copy of Invasion of the Body Snatchers
A Chinese attempt to create an alien invasion film epic mass destruction in the vein of Independence Day and Michael Bay
Reboot of the old Japanese superhero series, conducted with the epic scale, mass destruction and dazzling effects of the more recent Godzilla films
An alien body snatchers film conducted with a series of smart whiplash twists and turns – even surprisingly a sense of humour
M. Night Shyamalan delves into the crop circle phenomenon and makes an alien invasion film. At this point his films were predicated on big conceptual surprises and this comes out as a damp squib when we find out what is going on
Action film made at the height of the popularity of tv’s The X Files with Jack Scalia fighting off the Men in Black
An alien invasion film that exists largely as a series of dazzling effects set-pieces, although proves frustrating when it comes to plot or explanatory rationale
James Gunn directs a film about body-snatching alien slugs that proves enormous fun and comes packed to the edges with numerous genre references and homages
Another of Quentin Dupieux’s hilariously gonzo comedies made up a series of deadpan surreal vignettes, including a witty parody of the modern superhero film
A live-action remake of the 1970s anime series Space Cruiser Yamato made with stupendous effects, although now much of the plot has been rendered familiar by assorted Star Wars copies
One of the less remembered films from Jack Arnold who directed a number of 1950s SF classics in which the children of rocket engineers are used by an alien force to sabotage a space launch. Not one of Arnold’s greats but still a modestly effective work.
Part of the late 80s/early 90s fad for deliberately bad SF films, this has plentiful references to Plan 9 from Outer Space but little that is funny
Well produced but otherwise unfunny comedy about a group of bumbling Martian invaders who turn up on Halloween, following a rebroadcast of the Orson Welles War of the Worlds radio show
Sequel to Species that this time offers up the male of the species. The film feels put together as an exercise in makeup effects but their physiological absurdity causes the film to topple into silliness
Slick and rather silly copy of Alien that conceptually cross-hatches it to emerge as essentially Basic Instinct with tentacles
Christopher Lee called this his worst film. Contrarily it is a ridiculously entertaining effort about a war between telepathic aliens in UFOs from beneath the Bermuda Triangle.
British effort that proves to be no more than another copy of Alien – set in a warehouse of storage lockers. The film never consists of anything beyond a crashingly ordinary regurgitation of the moves used by an endless number of Alien copies
A film that has been sold on the basis of its deliberately ridiculous title concept – that of alien invaders attempting to take over the airwaves by posing as televangelists
Alien invasion film made by industry outsiders from South Africa. The plot is like a much better version of I Am Number Four but played out on a much more ambitious scale where the novice filmmakers do sensational things in the visual effects department on a minuscule budget
An entry from the 1950s alien invader film fad. This starts well with survivors finding themselves in a deserted city but takes a nosedive with the introduction of a clunky robot
Alien invasion tv movie that mostly consists of cliches borrowed from the then success of tv’s The X Files
Animated parody of the Tarzan films made with a very adult sense of humour that was banned in several countries as a result
South Park creators Trey Parker and Matt Stone conduct an hilarious parody of Gerry Anderson via real world politics and a very adult sense of humour
Sequel in name only to Cloverfield, this takes place in a survival shelter where an unspecified catastrophe has happened outside but we cannot be certain what or even if anything at all. Okay but films like Take Shelter and The Divide did this much better
Possibly the dreariest alien invader film ever made. A US film shot in Sweden about an expedition to find a crashed meteorite. An alien monster that looks like a giant shaggy Yeti turns up in the last few minutes.
The fifteenth Godzilla film, the last of the classic series, featuring a return of Mechagodzilla from the previous film. Original director Ishiro Honda returns to the series and reclaims it from the juvenile focus it had taken over the last few films to make the best entry of the 1970s
SF effort from the UK’s Amicus Films with an ambitious plot about communication from the stars that manages to prefigure films like Contact and 2001. On the other hand, the film fails is in its pitiful and utterly inadequate special effects
John Carpenter makes an alien invasion film that works as a biting satire of Reaganomics in which aliens are manipulating reality to increase their profit shares in Earth
John Carpenter at the peak of his career, remaking The Thing from Another World as a wild and phantasmagoric film steeped in paranoia that proved to be the absolute epitome of the era’s fad for air-bladder transformation effects
Though pitched as a prequel, this is essentially a remake of John Carpenter’s classic. Alas, this only finds the same phantasmagoric outlandishness as Carpenter did in a couple of scenes that may be moderately impressive for those who have never seen the original
The very first alien invader film of the 1950s. Maybe or maybe not directed by Howard Hawks, this has a dramatic urgency and tight tension that makes it stand head and shoulders above most of the films that came after
The Three Stooges join a number of other comics of this era in taking on the space race. Well they only briefly venture into orbit and mostly this can be described more as a slapstick haunted house comedy with alien invaders
Chris Pratt is recruited to fight an alien invasion in a war across time in a big-budget film that flounders in its own ridiculousness
Canadian-made parody of a cheesy 1950s SF film that emerges more wittily amusingly than most Deliberately Bad SF Films
From Larry Blamire, a deliberately ridiculous spoof of the 1950s alien invasion film. Blamire’s dialogue and the deadpan with which everybody plays is frequently hilarious
Michael Bay takes on the 1980s toy phenomenon, turning it into a massive blockbuster filled with copious mass destruction and machines beating the metal crap out of each other
The third of Michael Bay’s Transformers films. While the human scenes opt for a ghastly miscalculated sense of humour, the effects houses are at the peak of their game, even if Bay allows them to drag the mass destruction out to a numbing excess
Since Michael Bay retired from the series, The Transformers films have been looking for new directions. This ventures into animation to tell a Transformers origin story
The first of Michael Bay’s Transformers sequels has even better effects and more copious mass destruction to the point it washes over you without any effect
The Asylum’s answer to Michael Bay’s Transformers. Bay had a $150 million budget; they try to copy it for $250,000. To its credit, the film flies valiantly to deliver a watchable show in the face of inadequate effects
Transmorphers was The Asylum’s mockbuster copy of Michael Bay’s Transformers and one of their better films. When Bay released his sequel Transformers: Revenge of the Fallen, The Asylum also made this prequel
Classic tv mini-series about rebellion in a future where Earth is controlled by giant alien tripod machines, this still holds up as something great today
Modestly effective British entry into the 1950s alien invasion genre with people fighting invaders on a Swiss mountainside
One of the film from legendary stop-motion animator Ray Harryhausen, featuring one of his finest creations The Ymir, an alien monster from Venus that rampages throughout Rome
A crossover between all the menaces in The Asylum’s films, which are brought to life as part of an alien invasion plan
The first of several animated films based on Marvel Comics properties, this does a solid job in adapting Mark Millar’s The Ultimates, a retelling of The Avengers origin story
Follow-up to the previous animated Marvel Comics film featuring The Avengers, this serves to introduce Black Panther to the screen for the first time
A British response to the 1950s alien invader fad that swept the US. Despite a low-budget, this achieves an undeniable atmosphere of paranoia as a scientist discovers that his newlywed wife may be an alien infiltrator
Very popular mini-series during its day (that was followed by a tv series) concerning the alien invasion and occupation of Earth, this has an utter banality that fails on almost every level – as human drama, science and even basic plausibility
Follow-up to the popular V mini-series, this is an absurd melodrama that is made up of incredibly bad science-fiction writing and directed with zero plausibility
Classic adaptation of the John Wyndham novel about the women in a sleepy English village being impregnated and producing emotionless alien children with vast psychic powers. This translates the paranoia of US alien invasion films with considerable effectiveness
Director John Carpenter did amazing things with his remake of The Thing but was not able to replicate such with his remake of Village of the Damned, which misses the taut atmosphere of the 1960 film
This has the novelty of a monster that is an evolving fusion of machinery and organics. While it is all directed with much noise and fury, it is ultimately no more than another copy of Alien
The military action film is a genre that does nothing for me. But this does have a furious, survival-oriented pace as it pits Alan Ritchson and a detachment of soldiery up against an alien killer robot
An early film from legendary B movie producer/director Roger Corman. This is an alien invasion film but has been twisted out of shape to exploit the fascination with satellites after the launch of Sputnik several months before the film came out
First and best adaptation of the book, this takes liberties with the H.G. Wells original but smartly updates the book’s underlying anxieties to the Cold War era (in so doing becoming the grandaddy of the 1950s alien invader film) and providing what was top notch effects spectacle for the era
Where the legend of The Asylum and their low-budget mockbusters began, this was a cheap modernised version of the H.G. Wells novel that was released a day before the Spielberg film. Despite cheap effects, this adheres closer to Wells than Spielberg did and is better written than most Asylum product
Released just before the Spielberg film, this was an adaptation of the H.G. Wells novel set in the Victorian period that attempts to tell the story as it was written. The film has ambition way beyond the resources at hand but you cannot help but applaud what it tries to do
Steven Spielberg remakes the classic H.G. Wells alien invasion story, liberally rewriting it for the post-9/11 world. Not Spielberg’s best film but a more than solid work on most grounds
Sequel to The Asylum mockbuster version. Sequelising H.G. Wells is a daunting prospect and not too surprisingly this throws much of Wells out and creates its own film, which is undercut by a typical Asylum low budget
BBC mini-series that sets out to restore the H.G. Wells novel to the era it was written. This it does, as well as restores many aspects that other films change. At the same time, it also introduces some radical changes that make it the most variant of the adaptations to date
An adaptation of H.G. Wells’ classic alien invasion novel modernised into the era of mass data surveillance, social media and Amazon delivery drivers. Shot in the Screenlife process where the film screen becomes a computer screen
Sequel to the H.G. Wells novel that imagines a fascinating alternate history that might have occurred following the Martian invasion. The clear appeal has been creating a series of scenes showing humanity tackling invading tripods in giant Steampunk manned robots
Not an adaptation of the H.G. Wells novel but a biting satire made in Poland during Soviet occupation about how the pretext of an alien invasion is used to create an authoritarian regime and the way media is used to control the masses. A film more potent today than when it was made