Skip to main content

Alien: Ore (2019) Analysis Video

Recently, I saw the Alien 40th Anniversary short film, "Ore." Directed by the talented Spear sisters, Kailey and Sam (see an interview with them, here), I was so impressed with their work, I decided to make a response video. In this post, I wanted to explain why I did, and why "Ore" and its authors are so impressive.

Note: Watch "Ore" first, here. After you have, watch my video.

In my video, I go over "Ore," step-by-step. As a result, the video is very long. "Ore" is very detailed; so is my response. It's not strictly a review, in the sense of slapping on a quick-and-easy rating ("thumps up/down" or 4/4 stars, etc). Instead, the aim is to explain why "Ore" is so good, but in minute detail. This is my style; it's also required to illustrate the level of craft exhibited by the Spears, in "Ore." Trust me: While "Ore" is short, every instant is jam-packed with clever nods to Alien (1979) and Aliens (1986). All the same, it's a fresh take, 40 years later. 

I try to bookend the analysis with minimal pretense (as to cut to the chase). I play and pause "Ore" and break it down, scene-by-scene, shot-by-shot. I discuss the perennial themes prevalent within, as well as photographic and editing techniques. Used by the Spears, these constitute (what I consider to be) the best of the 40th Anniversary short films, thus far, and an authentic Alien experience the likes of which hasn't been felt since 1986 (or 2014, if you count Alien: Isolation). "Ore" is trying to capture what Scott and company pulled off so well, back then; and later, by Cameron and his team. I enjoyed Prometheus (2012) and Alien: Covenant (2017) but the emphasis is on David, an android. Here, we're back to the human survivors, their struggles. That's the focus, and it's Gothic and dark in all the right ways.

As a Gothic scholar, I've always been interested in female horror auteurs. From Ann Radcliffe's 1790s output; to Mary Shelley and the Brontë sisters; to the horror actresses of the 20th century like Brigitte Helm, but also the more "Amazonian" Pam Grier, Sigourney Weaver and Linda Hamilton—there's always an enlightening female perspective to counterbalance the male ones. This extends to the female directors of the 20th and 21st centuries, the likes of Kathryn Bigelow, Jennifer Kent, the Soska sisters—and now the Spear sisters.

When Mary Shelley wrote Frankenstein (1818), she, her husband, and Lord Byron were holed up in a castle, telling each other ghost stories. The most famous is arguably Mary's Frankenstein. Horror is a mode of sorts, but even when recycled, there's always a new perspective to foster. Here, the Spears have lovingly recreated the Alien world, while giving it their own, special twist. It goes to show the value in a fresh pair of eyes; even if the material is recycled or retold, it always comes back a little bit different.

At the same time, the "feel" can be preserved. As part of the same franchise, Kailey and Sam have preserved the darkness and claustrophobia Scott and Cameron captured, decades prior. Thus, the cinematic universe remains. However, their use of horror and terror is idiosyncratic. It harkens to these older male directors, but exudes a level of class and skill female auteurs have demonstrated since Shelley and Radcliffe. Scott, Cameron, Shelley and Radcliffe—they all use similar devices, regardless if the story is cinematic or novelized. So do Kailey and Sam.

"Ore" is the first of the Anniversary short films I've wanted to see an extended sequel of. It also holds its own against its older, silver screen counterparts. Its authors are exceptionally talented; with a little luck, the Network should pick them up.

For more information on "Alien: Ore," read my "Alien: Ore" Q&A series with the cast and crew!


For other blog posts by me, check out Dragon Ball Super: Broly - Is It Gothic?Mandy (2018): ReviewGothic Themes in Perfect Blue. Also check out my guest work on Video Hook-Ups.

Like my work? Follow me on Twitter! You can also purchase a commission through my art website, vanderwaardart, or support me on Patreon!

Become a Patron


Popular posts from this blog

My Two Cents: An Interview with Ahdy Khairat

Hello, everyone! My name is Nicholas van der Waard. I have my MA in English Studies: the Gothic, and run a blog centered on Gothic horror, Nick's Movie Insights. However, if you follow Ahdy Khairat's channel on YouTube, you probably know me as "the two cents guy." With this post, I wanted to interview Ahdy himself and talk to him about his work. But first, a bit of history...

March 25th, 2018. It was a dark Manchester night. I was wearing a Cthul-aid t-shirt and standing in the kitchen of my student-provided flat. Holding my phone in my hand, I was making myself some dinner (rice, eggs and soy sauce—a student diet if ever there was) after a seminar earlier in the evening. I had on my headphones and was listening to some nightly music—some subscribed content on YouTube when Ahdy Khairat's latest remaster, "Call of Ktulu," popped up.

This caught my eye; I had several of Ahdy's remasters on my iPod, and enjoyed his work. However, I also knew he …

Hell-blazers: Speedrunning Doom Eternal Q & A—Under the Mayo

This Q&A series, playfully titled "Hell-blazers," interviews Twitch streamers, speedrunners and Doom fans about Doom Eternal (2020); it asks them, based on their own experiences, to compare the game to the rest of the franchise, and what effect it will have on speedrunning and gaming at large.

General information about the Q&A can be found, here; a compendium of the interviews as they are published can be found here (which also includes interesting videos, break-downs and other articles).

Nick: My name is Nicholas van der Waard; I have my MA in Gothic literature and wrote my thesis on Metroidvania.

Under the Mayo makes content on YouTube. What follows is my full interview with him about Doom Eternal.

The Runner
Nick: What got you into Doom? Do you remember the first Doom game you played?

Mayo:Doom was always that mysterious game that I saw/played a couple times on other people's computers back in the early/mid '90s. I never actually asked my parents for the game,…

Is Garfield (1978-present) Gothic?

This article begs the question, "Is Garfield Gothic?" So many textual mutations of the cat have recently emerged. I shall outline some of them, here.

Is Garfield Gothic? At first glance, the answer would seem to be no. For decades, he's been nothing but a fat cat who likes lasagna. There are no allegories about him. What you see is more or less what you get.

I can assure you, this is only the beginning.
Upon further consideration, the answer is less simple. The Garfield of the present exists in many more forms than he originally did, years ago. He's no longer produced exclusively by Jim Davis; there are "other Garfields" out there, made by other people as (debatable) tribute. Some are funny because they are different than, but reminiscent of, the parent version; and some of are monstrous, and largely for the same reasons. Once there was one; now there is Legion.

One of the "other Garfields." Familiar, and very, very wrong.
All stem from the Jim Davi…